Anywhere, Gym or you’re besties living room floor, get moving!💪💯👍
This Will Take 10-15minutes
with hip rotation each side
*If you find that you need to regress these #exercises
, do it! If you have any questions DM me and I’ll answer you as soon as I can!*
Fresh Kicks 🔥.
Time to make use of these beauties @nike @nikebasketball
➖ Nike Romaleos 3 🏋🏼♂️.
➖ Nike Mamba Rage 🐍.
“Roll the dice”🎲 - Charles Bukowski (Read By: Tom O’ Bedlam). “Be on the watch”. Big things to come for @cyfitherealist
, a special thanks to @originalmetroflexgym
for the use of the facility & the support. What I strive for when I make films is to capture, (the raw & natural side), that the human eye may overlook. This a TRAILER for @cyfitherealist
, I hope I did it justice. May all listen and potentially be inspired ... If I had one wish ... it would be that. #staytruetoyourself
2 weeks straight of working out; strength training, cardio, and some yoga but I’m still not able to do this with my hands. Anyone else have difficulty bending like this? Or is it just me?? I mean I do have short arms. Is there a trick or just stretching every day?
Keep in mind this was just my warm-up session. Some movements are off, but hey, it DOES say #improve
in the beginning right?
This routine is a variation of many muscle-groups, great for full-body trainers but #athletes
as well. It enables light #coordination
(I’m still working on mine).
I’ve been busy with this new way of ‘expressing’. Hope some people might cop these #exercises
ONE REQUEST FOR THE WATCHERS! -> I would like to receive feedback on these videos, tell me what I should improve or do differently. There are a lot of people posting #WorkoutVideo
s out there, going for a different approach. All ideas are welcome, and of course you’ll get a SHOUTOUT! (- music doesn’t transition well in 3-4 vid)
Thanks to @justtrain
. 🎥: @leandro.bles
🎤: Rise and Shine - J. Cole
I perfectly understand that I can not compete with those IG bodies but in my defense (apart from laziness)...
1) I’ve never taken any protein shakes, steroids, fat burners or energy drinks (except for ☕️)
2) I’ve always been against weight training until recently. And I started going to the gym for the first time in my life 6 months ago. Now I go twice a week for one hour.
It’s not obsession it’s a lifestyle!
3) I’ve never counted calories or weighted my food. I suffered from binge eating but vegan diet helped me with my eating disorder and now I eat when I’m hungry (mostly fruits, veggies and Thai curry from time to time. Nothing else seems to excite me anymore) ⠀⠀⠀⠀⠀⠀⠀⠀⠀
In my opinion, the healthiest and most effective formula is the diet combined with weight lifting and stretching (yoga)
The reason I eat the way I eat is that it seems to be the only way I can have enough energy for all the things I’m doing without getting help from stimulating drugs.
If you have any questions, please ask in the comments bellow👌
#vegan #rawvegan #plantbased #body #fitness #fitspo #bodybuilding #bodytransformation #зож #фигура #sports #gym #healthylifestyle #fitnessmodel #healthyfood #girl #bootyfordays #abs #weightloss #instagood #похудение #diet #сыроедение #sexy #веган #flatstomach #workout #yoga #exercises
Así termino... esta creería es mi mejor versión 💪🏻
New week, new goals- let do this 🥊 Hope to see you guys in class this week- schedule in bio 😉
THE PRACTICE INSIDER
OVERCOMING PREJUDICES — Classical music fosters an elitist following of deep-embedded prejudices, mantras, maxims, and value systems. Many of these become so ingrained that to merely question them can completely shred your credibility in the eyes of the musical occult.
Intonation is practically the quest for the Holy Grail with string players. Those who've got it don't really know how they got there only to preach practicing your scales. Those without it practice their scales and remain both frustrated and determined to dig in their heels. As someone with a deep musical background prior to coming into learning the violin, I've done so on individual views of my own many would feel fly in the face of skilled classical training.
The ear is actually extremely adaptable. The well-tempered, 12-tone chromatic scale of Western music is human invention. We as musicians train our ears to hear it. But just as we work to train ourselves to accurately hear it, we can train ourselves to inaccurately hear it. The more a player plays a scale degree inaccurately, the more their inner ear trains itself to hear the incorrect note as correct. With a fretless stringed instrument, it is also easy for left hand weaknesses to embed themselves in the ear as learned tuning and deficient intervalic relationships.
My solution is to comb through my intervals and scale degrees (do, re, mi, etc.) with an electric keyboard. You can feed deep-rooted prejudices by scoffing all you like at how feeble it sounds to use assistance, but with focused study, I have found that, in doing so, you can isolate the exact deficiencies in your intonation built into your inner hearing along with left hand inaccuracies. As frustrating as this correctional process can be at times, I am extremely pleased with the results all the way from the beginning of my study to now. The decision's yours.
Even on their worst days, my beloved Larsen's Il Cannone strings are truly spectacular. On the 24th, I'm ordering a new set, a full set of medium tension strings. But I simply could not continue to abide the Vision G, D, and A with Obligato E that came with my new instrument. The D string majorly lacked character, and the A string was quite sharp, a combination that gave a nasty timbre shift between strings.
The Visions and gold-plated, Obligato E were selected to provide brightness to what was thought to be a dark-sounding instrument. But all it did was bottleneck the overtones from fully coming through. This instrument jumped out at me for having a much fuller set of overtones than the others in the shop, which is likely why it was perceived as dark. But now that it's mine, not being compared to other violins, I'm starting to hear the needs of the instrument itself.
Switching them out for my old set of Il Cannone from my old violin with soloist G and E strings with medium D and A was a huge improvement. The D and A in particularly are so much more full of life. I do think brighter or higher tension strings bottleneck my instrument's sound. The higher-tension G and E work, but I do think medium will be way better on those as well. I can't wait to hear what a fresh, new set of medium-tension Il Cannone strings will sound like (especially after the 3ish-week break-in period)! This line of strings has become a huge obsession of mine, and I love the concept behind the sound. I feel like @larsenstrings
's vision for them truly achieves something special.
FOCUS — Lack of attention to detail is the path to mediocrity. On the flip side, my voice instructor who is one of the world's top pedagogues always says that if you can manage 80%, the rest will take care of itself. But how do you quantify 80% in music? It's still extremely subjective, but all I can say is to listen. Constantly. To professionals, to students… Social media is a wealth of both raw and staged musical footage. Use your resources, and build a solid frame of reference.
In grade school, there was a one player in band who was younger than me. He was probably one of the most talented musicians we ever produced in my small town. But did we produce his skills? Was he born with it? Neither. He listened. Constantly. This was before YouTube became as big as it is now. He obtained a massive box of CD's and tapes and such and spent countless hours with them, if I remember correctly.
I've spent around 3 1/2 months with this set of exercises on and off. It's been a journey. While I've focused on other things as well, these have been the real elephant in the room. They are brutal in their demands of sliding individual fingers up and down the string while mostly maintaining the frame of the hand. Accuracy is a beast, and I am still vehemently opposed to stickers.
But there came a point where it simply started to click, and I would have never reached that point without FOCUS: long-term, exacting focus. It's crucial to have the right technical concepts as well, but it's also so easy to try to move on to something different and more “advanced” much sooner than you're truly ready. I feel these exercises have paved the way for me to more-accurately approach chromatics in material I work on moving forward.
THE CHICKEN OR THE EGG? — Student violinists at different points must choose whether to focus on bowing or the left hand (fingerings and pitch). Quite a few teachers, artists, students, and observers consider bowing to be the primary difficulty and more important than the left hand in order to get a jumpstart on artistry.
I generally disagree, and my studies hinge on that. Intonation and left hand technique are by far the most complex. At the end of the day, any passage of music can be simplified to note-by-note bowing to work on intonation and left hand speed. Bowing can easily be applied second.
With music as a gestalt, however, bowing is also a crucial component. Thus-far, my focus being on securing the left hand has kept bowing on the back burner. In the last few days, I have finally been working bowing studies into my practice program. A mirror is proving crucial, which I have setup in an ideal spot in my practice space.
My biggest goals coming in have included bowing in precisely one spot on the string and not “swimming” or relocating out of carelessness, keeping perpendicular to the string, relieving shoulder and arm tension while improving my posture form, and keeping my chosen bow hold consistent.
One of my greatest surprises and challenges has actually been introduced by Ševčík in double stopping. It is my first real work with double stopping, which proves difficult not just with the left hand (down the road), but also with the bow arm. It's extremely difficult at first to sustain two pitches at once and requires a lot of stability in the bow.
Enjoy viewing my first steps at isolating my bowing…
SCALES — There is almost no instrument that scales are considered more vital for than a stringed instrument. And with the violin being the smallest stringed instrument, with therefore the intervals being closest together, that makes it all the more crucial. With a piano, at least the keys will always visually be in the same place and with set tuning.
With the fretless nature of the violin, however, a player's abilities are often gauged by their ability to play scales. Scales are the roadmap of the location of each note on each string. In addition to multi-string scales, one-string scales are also crucial to learn the precise locations of notes on each individual string. In Carl Flesch's method, Flesch includes single-string scales FIRST. This fits my own approach to learning the violin, considering single-string playing and shifting prerequisite to string crossing.
I have included a standard three-octave, all-strings scale as a fifth video. C Major is an excellent scale to start with, because it begins in second position which is not too high to start with but outside the typical first position “default.” Enjoy! I hope you find watching my beginner experiences valuable, as I start to tackle this crucial cornerstone of violin technique… . . . Videos from Ševčík's bowing method coming soon, a new study I have been just beginning…
I'm glad I saved sharing this progress for after the new shoulder rest arrived! Reaching the lower strings and playing left-hand pizzicato are both far easier, when the instrument is tilted closer to a 45° angle than my old shoulder rest allowed for. It sat closer to a 20-30° angle.
Enjoy! I plan on now beginning to implement the second finger in first position with new exercises!
BEHOLD: Il Cannone, by Larsen Strings
As you can hear, these strings have a great core to them, and there is such a wonderful balance from the lowest string to the highest! I no longer am faced with a dull, muffled G string sound! I am truly in love!
I will be adding the second finger, soon, in my newest exercise set I just finished. I will, however, share a few final first finger (first, third, and fifth position) exercises and my progress before moving on! I look to share some more progress videos Monday or Tuesday before putting these exercises to bed.
Oh how I long and look forward to learning the études of Schradieck, Kreutzer, Ševčík, Gaviniès, Rode, and the Paganini Caprices…apart from repertoire.
But isolating the fundamental positions first is crucial, alongside developing a growing, theoretical understanding of playing and the violin in general. I only very recently realized players keep their hands completely and totally still, when they move their fingers to play a fingering pattern. Only the fingers move, nothing else. I have also been discovering the importance of proper finger arch in accuracy and repeatability of finger placement.
But more than anything else, correctly landing in a position is extremely difficult. Until you can accurately land on the main positions with the thumb and first finger, repeatable each time, how can you even justify adding a second finger, even in first position? Once I do indeed begin and manage to add the second finger through the three main positions, I plan to fill in the second and fourth positions. Chromatics will come later, with the sixth and seventh positions to follow.
It's a truly long process, but learning something intelligently is crucial. I find myself more and more fascinated with detailed work on tuning and accuracy, and I am increasingly grateful to myself for not overcomplicating the process prematurely. The new Larsen strings and rosin are fantastic upgrades to my studies, as well! The strings are astonishingly responsive, and the rosin leaves minimal dust!
Happy Easter weekend . . .
The Internet is truly an amazing thing. Even though I live in rural Oklahoma and can currently only get decent Internet via satellite and cellular (that's supposed to be about to change), not only am I able to purchase quality violin parts such as chin rests from the East Coast, and not only am I able to order materials such as strings and rosin handmade in Europe, online media has taught me so much so quickly in learning violin.
I'm sure to some people, using a pencil on the string grooves in the bridge and nut is a no-brainer. The same is probably true for using the tube that comes on your E string to keep the string from cutting into the bridge.
But to many people, this is not conventional wisdom. People deal with broken violin strings very regularly, whereas these things supposedly eliminate breaks almost entirely. Did you also know to lift your strings (minus the E, which does not need it in using the tube) gently and slightly up off the bridge, individually, after tuning? This allows the string tension to equally distribute itself on either side of the bridge, another important factor to keep strings from breaking. I'm glad to now know these things before buying the Larsen Il Cannone strings in a month or two as I plan to do… YouTube is a marvelous thing…