It is important to develop good habits when caring for your violin bow. A good and responsive bow makes a huge difference in the sound of your instrument. There are several key points to remember to properly maintain your bow. Most importantly, always loosen the hair when you are finished playing. This is done by turning the bow screw counter-clockwise. You should feel the stick relax back into it's original arch (camber). If the bow is left tightened for extended periods, the stick can lose its camber and can even warp. Furthermore, the hair can stretch out. If the hair stretches too much, you will not be able to tighten the bow to playing tension. It is vital to remember never to force a bow to tighten because it is possible to break the butt end of the stick by forcing it. If you can't tighten the hair, you should take it to your violin shop for a possible rehair. Bows should be rehaired depending upon use and the condition of the hair. There isn't one rule about how frequently to have a bow rehaired.
An additional key to caring for your bow is to remember never to touch the horsehair with your fingers, as dirt and oils can get on the hair that will cause it to lose its ability to accept rosin. In general, it is always a good idea to wash your hands before you play your instrument. Some peoples' hands tend to perspire profusely. Not only can the sweat remove the varnish from the stick, iit can also soil the hair at the frog. For those with sweaty hands, frequent hand washing is more than a recommendation -- it is a must. When perspiration builds up around the frog of the bow, it can attract grime that can cause the frog to get stuck in position on the stick. When this happens, the frog will not move -- even when the bow screw is turned to loosen the hair. If this happens, the frog should be taken off of the stick, using care not to allow the hair to become twisted. Then, the stick should be cleaned. If you find that your hand is "eating away" at the stick or the varnish, you can have your luthier apply a long leather to the handle of the stick to protect it. This is frequently done on fine bows to preserve the makers' stamp from wear and tear.
The frog glides back and forth on the stick by a simple mechanism of a bow screw and an eyelet. The bow screw is usually made of steel and the eyelet is usually made of brass. The brass eyelet is a much softer metal than the bow screw and can strip. If you find that you cannot tighten or loosen your bow, chances are good that they eyelet has become stripped. On occasion, it is possible to carefully remove the frog from the stick and turn the eyelet one-half of a turn, in order to locate some remaining thread left that has not yet become stripped. Then, it is possible to reset the frog back on the stick and reset the bow screw. This doesn't always work, but it is worth a try.
On the stick near the frog is the thumb leather and winding. The thumb leather is there to protect the stick from the thumb and thumb nail. Over time, your thumb nail can wear through the leather and start carving into the stick. If your thumb leather is warn, you should have it replaced at your next rehair. This will help preserve the stick and value of your bow.
The head of the bow is very fragile and under a lot of tension. At the head, you will find a tip plate. The tip plate can be made of metal, plastic, ivory or mammoth and is there to protect the head of the bow. If your tip plate is not made of metal, it can break when bumped or can crack if the hair isn't carefully inserted during a rehair. If it should crack or break, you should have it replaced immediately.
Using too much rosin is a common mistake made by many players. Rosin should be applied sparingly and only when needed. You should not see a white cloud of rosin come off the bow when you play. Once there is too much rosin in the hair, it is nearly impossible to get out. When you use too much rosin, it will build up on the strings and your sound can become very scratchy -- since you are essentially playing with rosin on rosin. Also, rosin can build up on your instrument and damage the varnish over time. To avoid this, it is important to wipe off your instrument, strings and bow shaft with a clean soft cloth each time you finish playing. Microfiber cloths work great for this.
Tightening the bow too much when you play is another common mistake. There is no rule for how tight a bow should be as it depends on the strength and camber of the stick and is different for every bow. If your bow is too tight, you will have trouble controlling your bow and it can become too bouncy when an even sound is desired. You can test how tight to make your bow by playing long and even strokes. The hair should just barely clear the stick at the middle of the bow. If you see a big gap between the hair and the stick, then your bow is too tight. You can keep experimenting with hair tension until you find that you have good control over the bow.
When you have develop good habits you will find it very easy to maintain your bow. Eventually, you should be able to do this without even thinking about it.
Wednesday, December 30, 2009
Wednesday, December 23, 2009
Have You Found a Stradivarius
So, you've found or inherited an old violin. You look inside and the first thing that you see is the label, which is affixed to the back of the instrument and can be viewed through the "ff" holes. What does the label say? Odds are quite good that it says "Antonius Stradivarius Cremonenfis Faciebat Anno 17XX". So, have you just won the lottery? Do you have an instrument worth millions of dollars? Unfortunately chances are good that what you have is a copy of a Stradivari, which was likely made in Germany or Czechoslovakia during the period of 1875 to 1940. These copies, made by the thousands, were manufactured primarily for export, with many of them coming to the United States. They were widely distributed by companies such as Sears Roebuck and Montgomery Ward in a mail order fashion. Most of them were sold as "outfits" or "kits," meaning they came with a case, bow, rosin, pitchpipe and a beginning violin book. If your violin doesn't say Stradivarius, it could say Nicolo Amati, Joseph Guarneri, Carlo Bergonzi, J.B. Vuillaume, Steiner, or any number of other well known violin makers. These labels were inserted in the instruments for two reasons: first, to sell the instrument; and, second, to acknowledge that this instrument is (roughly) patterned after one of these great masters of violin making.
How can you tell if you have the real thing? It is fairly easy to identify copies. The first thing an appraiser will do is to look at the quality of workmanship and the varnish. The copies usually do not have the same quality of workmanship or varnish as an original. The appraiser will look at the "ff" holes, the "purfling," and the overall pattern of the instrument. They check to see if the scroll and instrument are symmetrical, if the purfling is inlaid, and how well that has been executed. The next thing to check is the neck and scroll. A violin made prior to 1850 will still have the original short or baroque neck and short fingerboard or will have had a neck graft, which is where the original scroll is carefully removed and a longer neck and fingerboard are installed and the original scroll is reattached. When an appraiser looks at a violin, generally the last thing they look at is the label. Over the years many fake labels have been put into instruments with deception being the number one reason.
If your label says "Germany" or "Czechoslovakia" or some other country, that helps to date the instrument. In 1891, the McKinley Tariff Act required that all items imported by the U.S. state the country of origin. In 1914, the Act was revised and also required the words "Made in." In 1921, the Act was revised again to state that all countries of origin be written in English. There are also other clues which can help further date the instrument such as "Made in Occupied Japan", which would have been 1945 to 1951, or "West Germany" and "East Germany" when Germany was divided. This occurred in 1945 and lasted until the reunification, which started in the summer of 1989.
The burning question remains. Does this violin have any value? There were various grades of copies made. Some of them were made quite crudely, while others have beautiful workmanship. This is where you need the opinion of an expert. The quality of workmanship and varnish in addition to the condition of an instrument greatly affect its value. Your appraiser will assess these things and generally come up with a value based on what the instrument is worth in its current state and what it could be worth if it were put into pristine playing condition. When in doubt, take your treasure to your trusted violin shop for an opinion. You may have to pay for this opinion but if you do have a real Stradivari the information you receive could be priceless.
How can you tell if you have the real thing? It is fairly easy to identify copies. The first thing an appraiser will do is to look at the quality of workmanship and the varnish. The copies usually do not have the same quality of workmanship or varnish as an original. The appraiser will look at the "ff" holes, the "purfling," and the overall pattern of the instrument. They check to see if the scroll and instrument are symmetrical, if the purfling is inlaid, and how well that has been executed. The next thing to check is the neck and scroll. A violin made prior to 1850 will still have the original short or baroque neck and short fingerboard or will have had a neck graft, which is where the original scroll is carefully removed and a longer neck and fingerboard are installed and the original scroll is reattached. When an appraiser looks at a violin, generally the last thing they look at is the label. Over the years many fake labels have been put into instruments with deception being the number one reason.
If your label says "Germany" or "Czechoslovakia" or some other country, that helps to date the instrument. In 1891, the McKinley Tariff Act required that all items imported by the U.S. state the country of origin. In 1914, the Act was revised and also required the words "Made in." In 1921, the Act was revised again to state that all countries of origin be written in English. There are also other clues which can help further date the instrument such as "Made in Occupied Japan", which would have been 1945 to 1951, or "West Germany" and "East Germany" when Germany was divided. This occurred in 1945 and lasted until the reunification, which started in the summer of 1989.
The burning question remains. Does this violin have any value? There were various grades of copies made. Some of them were made quite crudely, while others have beautiful workmanship. This is where you need the opinion of an expert. The quality of workmanship and varnish in addition to the condition of an instrument greatly affect its value. Your appraiser will assess these things and generally come up with a value based on what the instrument is worth in its current state and what it could be worth if it were put into pristine playing condition. When in doubt, take your treasure to your trusted violin shop for an opinion. You may have to pay for this opinion but if you do have a real Stradivari the information you receive could be priceless.
How Does Weather Affect the Tuning of Your Violin Or Fiddle?
Stringed instruments are very sensitive to extremes of heat and cold and variations in humidity. The biggest problem that violins experience in the winter is slipping pegs, which shrink in winter when the humidity drops. When they shrink, they release themselves from the box. Many people feel that applying "peg dope" will fix this problem. However, applying this material can actually make the problem worse because it is a lubricant and can therefore cause even more slippage.
One possible solution can be to make sure that the strings are wound in the box correctly. Start by inserting the string in the proper string holes and begin evenly winding them towards the wall of the box that is on the same side as the head of the peg. If your strings are wound to the edge of the box, this will help guard against slippage. Be careful not to wind the string so close to the wall that you can't turn the peg, or you damage the string.
In contrast, in the summer, the pegs take in humidity and swell. Thus, they can cease to turn smoothly or can get completely stuck. Never try to force them when stuck because it is easy to break the head. Try to decrease the humidity by keeping the instrument in air conditioning or putting a desiccant (drying agent) in your case. If you can't loosen the stuck peg take the instrument into your violin shop.
Try to keep your instrument in an environment that is fairly constant in temperature and humidity year round. If you are consistently having trouble with slippage, have them checked by your local violin maker to see if they are fitting properly or are in need of new string holes.
One possible solution can be to make sure that the strings are wound in the box correctly. Start by inserting the string in the proper string holes and begin evenly winding them towards the wall of the box that is on the same side as the head of the peg. If your strings are wound to the edge of the box, this will help guard against slippage. Be careful not to wind the string so close to the wall that you can't turn the peg, or you damage the string.
In contrast, in the summer, the pegs take in humidity and swell. Thus, they can cease to turn smoothly or can get completely stuck. Never try to force them when stuck because it is easy to break the head. Try to decrease the humidity by keeping the instrument in air conditioning or putting a desiccant (drying agent) in your case. If you can't loosen the stuck peg take the instrument into your violin shop.
Try to keep your instrument in an environment that is fairly constant in temperature and humidity year round. If you are consistently having trouble with slippage, have them checked by your local violin maker to see if they are fitting properly or are in need of new string holes.
How to Choose a Bow to Use It In a Fiddle Contest
When considering the best bow for fiddling, iit may seem that every fiddle player has a different opinion. Choosing a bow is a very personal decision. Fiddle music is very demanding and a having a responsive bow is a must. I have observed that fiddle players use everything from the most inexpensive bows to fine old French bows valued at over $20,000.
One option that is becoming very popular is carbon fiber bows. The advantages to carbon fiber bows are that they are very stable, difficult to break and do not warp. A favorite carbon fiber bow is the CodaBow brand. CodaBow makes several models which are designed to accommodate many different levels of players.
When playing demanding fiddle tunes, a bow with a strong stick may seem to perform best for many players. Keep in mind that the stronger the stick, the less hair tension is needed. Each bow will dictate, depending upon strength of the stick and its camber (the arch in the bow), how tight it needs to be. A common mistake is to tighten the bow so much that it becomes bouncy and hard to control. There is no rule about how tight a bow should be. Again, it depends upon the individual bow and the player's preferences.
A common mistake is to put too much rosin on the bow. Many players and teachers feel that they should rosin the bow every time they play. This is not the case. Rosin should be used to help the bow grip the string. If you find a white cloud of it coming off the bow hair when you play, then you are using too much. With rosin, generally less is more. If you feel the hair slipping on the string then apply more of it sparingly until you feel the bow grip the string.
It is important to remember to loosen the bow when you are done playing. When tension is left on the hair, it will stretch. Once the hair is too stretched out your bow will no longer tighten. If you can't tighten the bow, don't force it. Take it in to you local luthier for a rehair. Many bows have been damaged by trying to force them to tighten. The other reason for loosening the hair is to let the stick relax back into it's natural cambered shape. If a bow is left tight for too long it will lose its camber and can warp.
One option that is becoming very popular is carbon fiber bows. The advantages to carbon fiber bows are that they are very stable, difficult to break and do not warp. A favorite carbon fiber bow is the CodaBow brand. CodaBow makes several models which are designed to accommodate many different levels of players.
When playing demanding fiddle tunes, a bow with a strong stick may seem to perform best for many players. Keep in mind that the stronger the stick, the less hair tension is needed. Each bow will dictate, depending upon strength of the stick and its camber (the arch in the bow), how tight it needs to be. A common mistake is to tighten the bow so much that it becomes bouncy and hard to control. There is no rule about how tight a bow should be. Again, it depends upon the individual bow and the player's preferences.
A common mistake is to put too much rosin on the bow. Many players and teachers feel that they should rosin the bow every time they play. This is not the case. Rosin should be used to help the bow grip the string. If you find a white cloud of it coming off the bow hair when you play, then you are using too much. With rosin, generally less is more. If you feel the hair slipping on the string then apply more of it sparingly until you feel the bow grip the string.
It is important to remember to loosen the bow when you are done playing. When tension is left on the hair, it will stretch. Once the hair is too stretched out your bow will no longer tighten. If you can't tighten the bow, don't force it. Take it in to you local luthier for a rehair. Many bows have been damaged by trying to force them to tighten. The other reason for loosening the hair is to let the stick relax back into it's natural cambered shape. If a bow is left tight for too long it will lose its camber and can warp.
Common Violin Repairs
Violins are very sensitive and temperamental instruments. It doesn't take much to throw them out of adjustment or to get damaged. An open seam is one of the most common fiddle repairs. It is important to have the seam glued back together as soon as possible to prevent oils and dirt from getting into the open seam. It is also important that the seam is re-glued with the proper glue. Violin shops use hide glue. This specific hide glue does not come in a bottle! It comes in a dry granular form, is sold by the pound, and most shops will use 315 gram strength. It is important to prepare it properly. It must be added to water in the appropriate proportion and then heated, usually in a double boiler. Once it is applied to the the open seam the seam should be clamped for several hours or ideally over night. Bottled glue such as white Elmer's (polyvinyl acetate), Titebond (aliphatic resin) and epoxy are not appropriate for violin seam repair as they can make it nearly impossible to reopen the seam later if needed. Heated hide glue is prized for it's strength and for being easy to reverse, later, if necessary.
Cracks are also glued with hide glue and can be very tricky to get back together. If your fiddle develops a crack take it to your violin shop as soon as possible. A crack is generally glued back together and reinforced on the underside. This requires skill and experience as generally it requires having the top of the instrument removed.
Positioning of the bridge and soundpost are critical to the sound of the instrument. The bridge is held down by string tension only. It is not glued to the top of the instrument. It is easy for it to get bumped and move out of position, which will affect the sound and response of the fiddle. Generally, the bridge is centered on the top between the two inner notches of the "ff" holes. However there is a specific formula for determining the correct positioning of the bridge. Your luthier should determine this for you. It is important to have a bridge carved to fit the instrument. The feet of the bridge should sit flat on the top with complete contact. The string height should be set according to the neck projection and the strings should be properly spaced. Bridges are not interchangeable between instruments. It is important that the bridge be carved to the appropriate thickness, which can vary slightly from instrument to instrument.
Positioning of the soundpost is also very important to the sound. The French use the word "âme" which means the soul. The soundpost is a "dowel" made of spruce, which serves as a structural support, and which transfers the vibrations from the top of the fiddle to the back. If the soundpost shifts, the response and sound of the violin can be compromised. There are specific tools that are used for adjusting the position of the soundpost. Adjustments should only be done by an experienced luthier. If not, it is possible to force it to a position that causes damage or crushes the fibers on the underside of the top of the instrument. Such damage can be irreversible.
Tuning pegs can be a source of frustration even for the best players. Pegs that were never fit properly to begin with will bring nothing but grief when tuning the fiddle. Even pegs that fit well initially can cause problems over time. With use, the pegs and peg holes will become oval, or "out of round." In time, the peg holes in the peg box become larger while the pegs shrink. Thus, eventually, a new set of pegs will be needed. When the holes in the peg box become too large your luthier will do a bushing, which is simply adding new wood to the holes to decrease their size. There are different methods of doing this. Once the holes have been made smaller your luthier may fit a new set of pegs to your instrument or refit your old pegs to the new holes. There are specialized tools used for this. Your luthier will use a peg shaper, usually set to a 1/30 taper and a reamer which matches the same taper. These tools can be expensive and difficult to use properly, which is why it should be done by someone with experience.
The nut and fingerboard can also require attention. On a good instrument, they are made of ebony, which is a very dense and hard wood. The nut should be set to the correct height, which can vary according to the preferences of the the player. The strings should be evenly spaced at the nut. Some luthiers will shift the notches slightly to the G string side to make it easier for the player to play on the E string, which gives more clearance between the E string and the edge of the fingerboard. In time, the strings will wear grooves in the fingerboard. This will require a fingerboard "dressing" or planing. After this has been done several times, usually over the course of many years, the fingerboard will become too thin and weak. Once this happens, you will need a new nut, fingerboard and possibly a new bridge. If this problem is not addressed, the violin neck may warp or twist. Sadly, the availability of high quality ebony is dwindling and a new fingerboard may warp. If this happens you will experience the strings buzzing on the fingerboard when you are playing. Your luthier may remove the fingerboard and straighten it. It also may require additional planing. Planing the scoop in a fingerboard is tricky and should only be done by a trained luthier.
If you value your fiddle treat it respectfully and only have repairs done by a professional.
Cracks are also glued with hide glue and can be very tricky to get back together. If your fiddle develops a crack take it to your violin shop as soon as possible. A crack is generally glued back together and reinforced on the underside. This requires skill and experience as generally it requires having the top of the instrument removed.
Positioning of the bridge and soundpost are critical to the sound of the instrument. The bridge is held down by string tension only. It is not glued to the top of the instrument. It is easy for it to get bumped and move out of position, which will affect the sound and response of the fiddle. Generally, the bridge is centered on the top between the two inner notches of the "ff" holes. However there is a specific formula for determining the correct positioning of the bridge. Your luthier should determine this for you. It is important to have a bridge carved to fit the instrument. The feet of the bridge should sit flat on the top with complete contact. The string height should be set according to the neck projection and the strings should be properly spaced. Bridges are not interchangeable between instruments. It is important that the bridge be carved to the appropriate thickness, which can vary slightly from instrument to instrument.
Positioning of the soundpost is also very important to the sound. The French use the word "âme" which means the soul. The soundpost is a "dowel" made of spruce, which serves as a structural support, and which transfers the vibrations from the top of the fiddle to the back. If the soundpost shifts, the response and sound of the violin can be compromised. There are specific tools that are used for adjusting the position of the soundpost. Adjustments should only be done by an experienced luthier. If not, it is possible to force it to a position that causes damage or crushes the fibers on the underside of the top of the instrument. Such damage can be irreversible.
Tuning pegs can be a source of frustration even for the best players. Pegs that were never fit properly to begin with will bring nothing but grief when tuning the fiddle. Even pegs that fit well initially can cause problems over time. With use, the pegs and peg holes will become oval, or "out of round." In time, the peg holes in the peg box become larger while the pegs shrink. Thus, eventually, a new set of pegs will be needed. When the holes in the peg box become too large your luthier will do a bushing, which is simply adding new wood to the holes to decrease their size. There are different methods of doing this. Once the holes have been made smaller your luthier may fit a new set of pegs to your instrument or refit your old pegs to the new holes. There are specialized tools used for this. Your luthier will use a peg shaper, usually set to a 1/30 taper and a reamer which matches the same taper. These tools can be expensive and difficult to use properly, which is why it should be done by someone with experience.
The nut and fingerboard can also require attention. On a good instrument, they are made of ebony, which is a very dense and hard wood. The nut should be set to the correct height, which can vary according to the preferences of the the player. The strings should be evenly spaced at the nut. Some luthiers will shift the notches slightly to the G string side to make it easier for the player to play on the E string, which gives more clearance between the E string and the edge of the fingerboard. In time, the strings will wear grooves in the fingerboard. This will require a fingerboard "dressing" or planing. After this has been done several times, usually over the course of many years, the fingerboard will become too thin and weak. Once this happens, you will need a new nut, fingerboard and possibly a new bridge. If this problem is not addressed, the violin neck may warp or twist. Sadly, the availability of high quality ebony is dwindling and a new fingerboard may warp. If this happens you will experience the strings buzzing on the fingerboard when you are playing. Your luthier may remove the fingerboard and straighten it. It also may require additional planing. Planing the scoop in a fingerboard is tricky and should only be done by a trained luthier.
If you value your fiddle treat it respectfully and only have repairs done by a professional.
How to Prepare to Purchase a Violin
When you are considering purchasing an instrument, it is important to know what price range you are comfortable with. It's also a good idea to have the money available so that when you find the right instrument you can pay for it. (Most violin shops do not allow payment in installments).
Many fiddle players purchase instruments and bows directly from other fiddle players. This can prove to be unwise because unless you are an expert on violin identification, repair and set up you might end up over paying or purchasing something different than what you were told you were getting.
It makes sense to buy an instrument from an established violin dealer or maker. That way, if you have a problem or need an adjustment to your instrument you can go back to someone who will stand behind the instrument.
If you plan to try instruments at a shop, it is courteous as well as expeditious to phone ahead for an appointment first. Make sure that you tell them what price range you are looking at so they will have time to gather the instruments and get them tuned before you arrive.
When testing fiddles it is a good idea to play a G major scale. That way you can hear the whole range of the instrument. Once you have auditioned several go back to your favorites and play some of your tunes on each one. Listen carefully for tone check to make sure the instrument is easy to play and has a fast response. When you narrow your decision to a couple of instruments, ask the shop to allow you them out on approval for a week or so in order to spend more time making a good decision. Make sure that you return whatever you don't want to the shop in a timely manner.
Many fiddle players purchase instruments and bows directly from other fiddle players. This can prove to be unwise because unless you are an expert on violin identification, repair and set up you might end up over paying or purchasing something different than what you were told you were getting.
It makes sense to buy an instrument from an established violin dealer or maker. That way, if you have a problem or need an adjustment to your instrument you can go back to someone who will stand behind the instrument.
If you plan to try instruments at a shop, it is courteous as well as expeditious to phone ahead for an appointment first. Make sure that you tell them what price range you are looking at so they will have time to gather the instruments and get them tuned before you arrive.
When testing fiddles it is a good idea to play a G major scale. That way you can hear the whole range of the instrument. Once you have auditioned several go back to your favorites and play some of your tunes on each one. Listen carefully for tone check to make sure the instrument is easy to play and has a fast response. When you narrow your decision to a couple of instruments, ask the shop to allow you them out on approval for a week or so in order to spend more time making a good decision. Make sure that you return whatever you don't want to the shop in a timely manner.
How to Choose Strings For Your Violin Or Fiddle
Now that you've practiced and practiced, you might be noticing that your strings are starting to sound false, or not in tune. Or, perhaps they are starting to unravel or sound "dull." If you have a fiddle contest or performance coming up, you should try to change your strings a week or two ahead of time to allow them to stretch and reach their full potential. How do you determine which strings to choose? There are numerous strings on the market at various price points.
There are three main types of strings.
1. Steel strings. These do not stretch much and can break in very quickly. They are usually the least expensive option. They can be difficult to tune because the core of the string is steel and is very sensitive to small changes in tension. It is a very good idea to have four fine tuners on your tailpiece if you choose to use the steel core variety. Steel strings can give a bright and edgy sound, with the exception of twisted brands, such as Helicore by D'Addario, which have a dark and warm sound. Other popular steel strings include domestic brands, such as Prelude by D'Addario and Supersensitive. There are some great imports as well, such as Pirastro Piranito and Chromcore, Thomastik Spirocore, Jargar and Prim.
2. Synthetic core strings. These are used by most violinists and fiddlers today and are moderately priced. Once they stabilize, they are capable of the warmest and richest sound of any string on the market. They are also unaffected by humidity. Thesy allow the musician to play into instrument, can have superb clarity, and allow for dynamic changes and nuances. They are usually available in three gauges -- light (weich), medium (mittel) and heavy (stark). The light gauge variety speak very quickly, have the least resistance and give a darker sound than the other gauges. The medium gauge variety are the standard used by most players. Heavy gauge strings can give a little more volume but tend to be more sluggish which, depending upon the instrument, might not be an advantage. Some popular brands include Pro Arte by D'Addario, Corelli Crystal and Alliance, Thomastik Dominant, Vision, Infeld Red & Blue, Pirastro Tonica, Obligato, Evah Pirazzi and Larsen.
3. Gut core strings. Gut strings tend to be the most expensive type and have been around since the beginning of the violin. They are made from sheep intestines. Over the years they became known as "cat gut" which is probably derived from the early instruments used in the 1600's, known as pocket violins, citterns or pochettes. These were instruments small enough for musicians to carry around in their pockets. The word "kit" likely arose from an abbreviation of the word "pocket" to "-cket" and consequentially "kit" or perhaps a shortened version of cittern. Available today are unwound, plain gut strings used mostly by baroque players and a variety wounded with varying metal alloys. Pirastro is a leading manufacturer of gut strings, which include Gold Label, Eudoxa, Oliv and Passione. The Golden Spiral brand are still a standard used by many violinists. Gut strings are affected by temperature and humidity. They are not as stable as the synthetic core variety, and require a lighter touch by the player, since they tend to "collapse" with heavy handed playing. Gut also has a shelf life. Since they are an animal product, they begin to deteriorate over time. They can make fiddle playing difficult given that most fiddle contests are held outside in all sorts of weather conditions.
There is no perfect string for all instruments. If you like the brand that you are accustomed to using, then stick with them. If you feel like experimenting I hope this guide will be helpful. Some violin shops will let you bring your fiddle in and audition different sets. Please keep in mind that this is an expensive proposition for the violin dealer as once the strings have been put on an instrument they can no longer sell them as new. Check with them first and if they are agreeable by all means make an appointment to do so.
There are three main types of strings.
1. Steel strings. These do not stretch much and can break in very quickly. They are usually the least expensive option. They can be difficult to tune because the core of the string is steel and is very sensitive to small changes in tension. It is a very good idea to have four fine tuners on your tailpiece if you choose to use the steel core variety. Steel strings can give a bright and edgy sound, with the exception of twisted brands, such as Helicore by D'Addario, which have a dark and warm sound. Other popular steel strings include domestic brands, such as Prelude by D'Addario and Supersensitive. There are some great imports as well, such as Pirastro Piranito and Chromcore, Thomastik Spirocore, Jargar and Prim.
2. Synthetic core strings. These are used by most violinists and fiddlers today and are moderately priced. Once they stabilize, they are capable of the warmest and richest sound of any string on the market. They are also unaffected by humidity. Thesy allow the musician to play into instrument, can have superb clarity, and allow for dynamic changes and nuances. They are usually available in three gauges -- light (weich), medium (mittel) and heavy (stark). The light gauge variety speak very quickly, have the least resistance and give a darker sound than the other gauges. The medium gauge variety are the standard used by most players. Heavy gauge strings can give a little more volume but tend to be more sluggish which, depending upon the instrument, might not be an advantage. Some popular brands include Pro Arte by D'Addario, Corelli Crystal and Alliance, Thomastik Dominant, Vision, Infeld Red & Blue, Pirastro Tonica, Obligato, Evah Pirazzi and Larsen.
3. Gut core strings. Gut strings tend to be the most expensive type and have been around since the beginning of the violin. They are made from sheep intestines. Over the years they became known as "cat gut" which is probably derived from the early instruments used in the 1600's, known as pocket violins, citterns or pochettes. These were instruments small enough for musicians to carry around in their pockets. The word "kit" likely arose from an abbreviation of the word "pocket" to "-cket" and consequentially "kit" or perhaps a shortened version of cittern. Available today are unwound, plain gut strings used mostly by baroque players and a variety wounded with varying metal alloys. Pirastro is a leading manufacturer of gut strings, which include Gold Label, Eudoxa, Oliv and Passione. The Golden Spiral brand are still a standard used by many violinists. Gut strings are affected by temperature and humidity. They are not as stable as the synthetic core variety, and require a lighter touch by the player, since they tend to "collapse" with heavy handed playing. Gut also has a shelf life. Since they are an animal product, they begin to deteriorate over time. They can make fiddle playing difficult given that most fiddle contests are held outside in all sorts of weather conditions.
There is no perfect string for all instruments. If you like the brand that you are accustomed to using, then stick with them. If you feel like experimenting I hope this guide will be helpful. Some violin shops will let you bring your fiddle in and audition different sets. Please keep in mind that this is an expensive proposition for the violin dealer as once the strings have been put on an instrument they can no longer sell them as new. Check with them first and if they are agreeable by all means make an appointment to do so.
How to Choose Tunes For a Fiddle Contest
When you are deciding on music to play for a fiddle contest, you will need to prepare at least three tunes. You will need a breakdown, a waltz and a tune of choice.
How should you decide on your tunes? If you have sheet music then play through several songs to see which are most appealing to you, or listen to several recordings and watch videos on YouTube. There are many books containing tunes that are available for purchase, as well as downloads you can obtain via the Internet. When you play through the music, you must decide if the piece is playable for you. It is usually a better idea to play music that is easier for you well, than it is to play hard music poorly. Ask yourself if there are any elements of the song that will showcase your strengths and abilities. If so, that would make an excellent choice. If there are any aspects of the tune that will be too difficult, for you, it is best to avoid that one. If your breakdowns sound flashy or impressive that can be an advantage. If you are good at playing double stops, then choose a waltz that is full of them.
Remember that picking and playing music for a competition that will impress the judges is your primary concern. Focus on the strengths of your playing and find music that is not too difficult. If you find tunes that you love it will be easy to continue practicing and polishing them for an outstanding performance.
How should you decide on your tunes? If you have sheet music then play through several songs to see which are most appealing to you, or listen to several recordings and watch videos on YouTube. There are many books containing tunes that are available for purchase, as well as downloads you can obtain via the Internet. When you play through the music, you must decide if the piece is playable for you. It is usually a better idea to play music that is easier for you well, than it is to play hard music poorly. Ask yourself if there are any elements of the song that will showcase your strengths and abilities. If so, that would make an excellent choice. If there are any aspects of the tune that will be too difficult, for you, it is best to avoid that one. If your breakdowns sound flashy or impressive that can be an advantage. If you are good at playing double stops, then choose a waltz that is full of them.
Remember that picking and playing music for a competition that will impress the judges is your primary concern. Focus on the strengths of your playing and find music that is not too difficult. If you find tunes that you love it will be easy to continue practicing and polishing them for an outstanding performance.
What is the Difference Between a Fiddle and a Violin?
Aside from setup, a fiddle and a violin are basically the same instrument. The difference is the style of music that is played on each. On occasion, a fiddle player might have the bridge reshaped to have a slightly flatter curve and lower string height than what a classical violinist might like. This can help the fiddler to more easily play both double stops (two notes which are played at the same time) and triple stops (three notes played at the same time). However, many fiddle musicians use a standard classical arch and string heights for their bridge, as many today are classically trained. Many also use synthetic core strings, such as Thomastik Dominant and Vision. Both sets achieve a warmer and richer sound than steel core strings, which were traditionally used by fiddlers in the past. The advantage to using a synthetic core string is ease of tuning and pitch bending. Most fiddle players use four fine tuners on the tailpiece to ease in tuning the instrument.
Many younger fiddlers today use a shoulder rest, whereas many old timers do not. There are several options on the market. One of the most popular is the Comford Shoulder Cradle and the Kun shoulder rest. Most fiddle players tend to hold the violin more in front and pointed down which differs from a classical player who strives to keep the violin parallel to the floor. Chinrest setup is becoming increasingly important for fiddlers. It is crucial to find a chinrest that fits the player's jaw properly.
Playing fiddle can be a rewarding experience and help the classical player expand his or her technique. It is helpful to observe as many other fiddlers as possible. YouTube is a very good source for viewing varied styles.
What You Need to Know When Entering a Fiddle Contest
Entering your first fiddle contest can be daunting. If you've never entered one before, the first thing to do is make sure that you have at least three tunes thoroughly learned and memorized. Most contests do not allow the fiddle player to use sheet music. They will, however, usually allow the back up guitar player to use music or "cheat sheets" for chord changes.
The most important tune that you should have ready is a breakdown, also known as a hoedown, which is a fast song in 2/4 or 4/4 time. The breakdown will showcase your abilities and should be your flashiest tune. The next song that is usually required at fiddle contests is a waltz. A waltz is a slower and melodic tune in 3/4 time. The waltz should showcase your musicality and ability to draw long and even bows. The last tune is your choice. It can be representative of one of many styles, such as a rag, polka, hornpipe or jig. However, it should be a fast selection and should show your ability to play in a style different than a breakdown, which is also usually played at a faster tempo.
It is important to know that there is some music which is banned at most fiddle contests, such as Orange Blossom Special, Listen to the Mocking Bird and Lee Highway Blues. These are known as "show tunes" and use vamps and techniques (both left and right hand) that are generally not associated with breakdowns.
Many contests ask for only two tunes but some may ask for three. In most contests if there is a tie between two players, the judges will ask for yet another song. It is a good idea to have a forth prepared, which should also be fast. You may not need it, but it is good to be prepared.
When you are preparing for the contest, it is important to practice with a metronome because timing is usually the most important aspect to the judges. When learning your music, go slowly and listen carefully to each note to make sure yoiur intonation is accurate. You can always speed your music up later once it is solid. You should be so comfortable with your tunes that you can play them under any circumstances, such as cold weather or stage fright. If you are solid, your performance will go well.
How a Fiddle Contest is Run and What to Expect
So, now, you've learned at least three or four tunes and are ready to take on the fiddle contest world. The first thing to do is to find out information about the specific contest that you are going to enter. Read the rules and see how many tunes will be required and when the draw for order will take place. It is also imperative to know if pre-registration is required.
If you don't have a backup guitar player make sure that you get there early. Many contests have several guitar players available that can accompany you. You need to come prepared knowing your chord changes and with plenty of time to find a guitar player and rehearse before the contest begins. Once the contest starts, the guitar players may be busy on stage and not have the time to work with you. You might even be lucky enough to have two guitar players to back you up.
Most fiddle contests go in order of age division with the children's divisions going first and then working towards the senior division. Some contests will have both an adult, usually ages 20 - 60, and an open division in which anyone can compete. If you are new to the fiddle world, the open division is usually reserved for the experienced fiddlers who play on an extremely high level. Some contests have trick fiddling and a fancy (show tune) division in addition to twin fiddling. These are the divisions that very experienced fiddle players enter.
While you are waiting for your turn to compete, it is a good idea to be supportive of all the contestants who are playing before you, especially the children. It is difficult to get up on stage and perform for an audience and judges.
When it is approaching your turn, make sure that you are close by and know where your guitar player is. If you are late to take the stage you might be disqualified. Once you are on stage, take a deep breath, relax and play your best. Remember that the audience is there for you and they want you to do well.
After all of the competitors are done playing there might be some time while the judges deliberate. This is a good time to meet other fiddlers and complement them on their performances. In some contests all contestants will be asked to come up on stage and jam until the judges have reached their decisions. Usually the on stage jam session will only consist of the most well known fiddle tunes.
Once the prizes are announced and awarded remember to show support for the winners as well as those who did not place. On any given day it is impossible to predict how the judges will make their decisions. Just keep fiddling and have fun!
Thursday, December 17, 2009
What do you think of the practice of bringing a violin or bow you are interested in buying to a shop that comes from another shop?
Generally it's not a good idea to bring instruments from another shop. Sometimes there are circumstances where it cannot be avoided, such as not wanting to leave the instruments in a car, etc.
If someone has instruments shipped in from out of state, it is a good idea to try them at home and at the lesson, rather than at another violin shop.
Regarding your question about mail order....
I agree that it is in poor taste to try something at the local shop and then buy it on line. Most players value their local shop and will try to support it. I have seen some teachers make a list of items and send the student all over town to pick up several things. I have to wonder if it cost more in gas than just to buy it all in one place. Hmmm
I can't speak for all violin shops but in our shop we do charge more for strings than our mail order competitors do. However, we will gladly exchange the string if it is defective and will also install the string. Yesterday I put a set of strings on for a customer at our shop. I noticed that the instrument needed some attention. While installing the strings, I moved the bridge to the right place, drilled new string holes in the pegs, which it desperately needed and lubricated the fine tuners so that they would turn smoothly again. Can you get that kind of service from mail order?
Another case in point, we had a customer in to replace a broken string. I noticed that the nut was too low and the strings were buzzing on the fingerboard. Who knows how long this would have gone unnoticed. I guess the teacher wasn't aware of it. We replaced the nut and the instrument plays like a dream. I wonder how motivated the student would be if the violin continued to buzz when played.
If you value your local shop then please support it. Keep in mind that most shops cannot buy strings in the quantity that the on line/mail order companies do. In many cases the violin shop suppliers charge the local dealer more money for strings than the on line companies sell them for. This, I believe, is a very sore point among many dealers. Just try to get the kind of service on line that your local shop can provide to you.
If someone has instruments shipped in from out of state, it is a good idea to try them at home and at the lesson, rather than at another violin shop.
Regarding your question about mail order....
I agree that it is in poor taste to try something at the local shop and then buy it on line. Most players value their local shop and will try to support it. I have seen some teachers make a list of items and send the student all over town to pick up several things. I have to wonder if it cost more in gas than just to buy it all in one place. Hmmm
I can't speak for all violin shops but in our shop we do charge more for strings than our mail order competitors do. However, we will gladly exchange the string if it is defective and will also install the string. Yesterday I put a set of strings on for a customer at our shop. I noticed that the instrument needed some attention. While installing the strings, I moved the bridge to the right place, drilled new string holes in the pegs, which it desperately needed and lubricated the fine tuners so that they would turn smoothly again. Can you get that kind of service from mail order?
Another case in point, we had a customer in to replace a broken string. I noticed that the nut was too low and the strings were buzzing on the fingerboard. Who knows how long this would have gone unnoticed. I guess the teacher wasn't aware of it. We replaced the nut and the instrument plays like a dream. I wonder how motivated the student would be if the violin continued to buzz when played.
If you value your local shop then please support it. Keep in mind that most shops cannot buy strings in the quantity that the on line/mail order companies do. In many cases the violin shop suppliers charge the local dealer more money for strings than the on line companies sell them for. This, I believe, is a very sore point among many dealers. Just try to get the kind of service on line that your local shop can provide to you.
Visiting the Violin Shop: Dos and Dont's
This is a good topic to bring up. There are a few things to know before you visit your local violin shop. If you plan on trying out instruments or bows it is best to call ahead for an appointment. Before you call decide what your price range is so that the shop can have a chance to have the instruments tuned and ready for you when you get there. Also, it will help the shop have a sales person available to help you. If there is someone that you know at the shop, and enjoy working with, then make sure that you request that person and schedule a time when that person is available. Also, it is important if you want to try out chin rests or shoulder rests, to schedule an appointment. This can be a very time consuming process and the violin shop will need to have someone available that can help you. Some shops will let you take a few chin rests and shoulder rests on approval so that you and your teacher can get just the right fit.
Another point is repair. On occasion there is an emergency but general maintenance such as a bow rehair, cleaning and polishing are not emergencies. Plan ahead for general maintenance and take it in when you can be without your instrument for a few days. Most shops do not have loaner instruments so plan accordingly.
If you have a problem with an instrument or bow after just having some work done, call the shop right away. In many cases it is a very simple adjustment. Don't hastily spread bad rumors about the shop.
Also:
1. For most shops week days are better than weekends. In our shop, Saturdays can be crazy and we don't always have enough time to devote to everyone's needs. That is also the day that people come in from out of town. If you live in town and can come on a week day chances are that you'll get much better attention.
2. It's good to have an instrument check up at least once a year. If it's possible twice a year is even better. If you notice any drastic change in your instrument bring it in right away. A drastic change would be buzzing, rattling, or a dramatic change in the sound. An emergency would be a crack or open seam or any other "major" damage.
3. A good consumer will shop around however, buying a stringed instrument is much different than buying an ipod. It is very important to establish a good relationship with the shop and that you trust them. Get advice from your teacher and other players about which shop(s) to go to. Another point (maybe off subject) is to ask your teacher if they take commissions (or secret kickbacks) from any shop. If they do, this could cloud their judgment.
If you get several instruments on approval from different shops, take them home and spend time with each one, also take all (or your favorites) to your lesson.
If your teacher spends extra time outside of the lesson helping you with your selection be sure to pay the teacher for their time.
Another point is repair. On occasion there is an emergency but general maintenance such as a bow rehair, cleaning and polishing are not emergencies. Plan ahead for general maintenance and take it in when you can be without your instrument for a few days. Most shops do not have loaner instruments so plan accordingly.
If you have a problem with an instrument or bow after just having some work done, call the shop right away. In many cases it is a very simple adjustment. Don't hastily spread bad rumors about the shop.
Also:
1. For most shops week days are better than weekends. In our shop, Saturdays can be crazy and we don't always have enough time to devote to everyone's needs. That is also the day that people come in from out of town. If you live in town and can come on a week day chances are that you'll get much better attention.
2. It's good to have an instrument check up at least once a year. If it's possible twice a year is even better. If you notice any drastic change in your instrument bring it in right away. A drastic change would be buzzing, rattling, or a dramatic change in the sound. An emergency would be a crack or open seam or any other "major" damage.
3. A good consumer will shop around however, buying a stringed instrument is much different than buying an ipod. It is very important to establish a good relationship with the shop and that you trust them. Get advice from your teacher and other players about which shop(s) to go to. Another point (maybe off subject) is to ask your teacher if they take commissions (or secret kickbacks) from any shop. If they do, this could cloud their judgment.
If you get several instruments on approval from different shops, take them home and spend time with each one, also take all (or your favorites) to your lesson.
If your teacher spends extra time outside of the lesson helping you with your selection be sure to pay the teacher for their time.
How do I know when to replace a violin E string?
Sometimes if a string looks fine, it may be bad. Check the harmonics for clarity, also check the 5ths.
If an E string has discolored or the gold plating has warn off it is a good idea to replace it. I find that E strings generally need to be replaced sooner than the other strings. Packaged E strings do not have a shelf life unless they are several years old. I have seen old packaged E strings in old cases, that have rusted. Needless to say I would not want to use one, or at the very least get a tetanus shot first. Ha Ha
Of course, gut strings, even wound gut strings have a shelf life. Since they are an animal product they start to break down and deteriorate over time.
If an E string has discolored or the gold plating has warn off it is a good idea to replace it. I find that E strings generally need to be replaced sooner than the other strings. Packaged E strings do not have a shelf life unless they are several years old. I have seen old packaged E strings in old cases, that have rusted. Needless to say I would not want to use one, or at the very least get a tetanus shot first. Ha Ha
Of course, gut strings, even wound gut strings have a shelf life. Since they are an animal product they start to break down and deteriorate over time.
Need help selecting strings for a violin with a high arch that does not seem to like tension (like the failed experiment involving
Have you tried Pirastro Obligato, possibly in a light guage. The new formula Pirastro Tonicas seem to be fairly low tension as well. If you are looking for clarity in your sound Thomastik Vision in light guage could also work well.
Have you ever seen a violin get damaged inside a case?
I have seen violins damaged in their case. Mostly it has been an instrument versus an SUV or being dropped out of the cargo hold on a jet airliner.
I believe that suspension provides the best protection for the instrument, unless the case is built like a tank, like the old Jaeger cases were. It seems that the old Jaeger cases could withstand a nuclear attack - just kidding.
Many cases claim to be suspension but it seems, in my opinion, that the suspension pads are so small that it really isn't a suspension case. Also, it is very important to have a case with a hard shell such as wood, fiberglass or carbon fiber.
There are inexpensive cases with a foam shell that simply won't hold up. I have seen what happens when someone slips on the ice and falls on one of these cases. In one instance the instrument required having a new top made for it.
I believe that suspension provides the best protection for the instrument, unless the case is built like a tank, like the old Jaeger cases were. It seems that the old Jaeger cases could withstand a nuclear attack - just kidding.
Many cases claim to be suspension but it seems, in my opinion, that the suspension pads are so small that it really isn't a suspension case. Also, it is very important to have a case with a hard shell such as wood, fiberglass or carbon fiber.
There are inexpensive cases with a foam shell that simply won't hold up. I have seen what happens when someone slips on the ice and falls on one of these cases. In one instance the instrument required having a new top made for it.
What Causes a Wolf Tone on the Violin?
Many instruments have a wolf tone, they are notoriously bad on most cellos. You can see if an adjustment of the bridge, sound post or tail wire length can correct it. If not there are violin wolf eliminators on the market. Most wolf eliminators will dampen the sound a bit and in many cases will just move the wolf to a different pitch.
If you can manage to play "around" the wolf that would be your best bet.
FYI: 1/4 violins are famous for a wolf tone on the open E string. Now that's a bummer.
If you can manage to play "around" the wolf that would be your best bet.
FYI: 1/4 violins are famous for a wolf tone on the open E string. Now that's a bummer.
What do you think of the Comford Shoulder Cradle?
The Comford Shoulder Cradle comes in three models (in addition to regular height and tall height). They come in plastic, which is the lightest weight model. There is also a silver model and a gold model. Both the silver and gold models are heavy, which is meant to act as a counter weight to make the scroll of the violin feel lighter. Both the silver and gold models have a "resonating" chamber built in to them, which is supposed to enhance the tone of the violin.
Do you know if CodaBow has released a replacement for the Aspire yet?
Coda has replace the Aspire bow with the Prodigy. It is available in 3/4 and 4/4 size. It plays differently from the Aspire. It handles like a more advanced bow. It is made with the new Diamond technology. Also, the stick has a smaller feel in the hand than the Aspire did.
Is there any way to get rid of the black stuff at the frog from where my thumb hits the hair?
The way to get rid of the black stuff is to have the bow rehaired.
Which Coda Violin Bow is Right for my Student?
This is a difficult question to answer. I have noticed that beginning students seem to do well with basic brazilwood bows as they can be a little heavier than average and are usually balanced more towards the tip. Those bows make it very easy to put the bow in the string and pull a big and even sound. Most brazilwood bows are very stable on the string. Once the student starts learning more difficult repertoire the bow can become difficult to handle. Spicatto, Staccato and Ricochet bowing techniques are some of the examples of when to move to a finer bow.
The only way to really be certain about which bow is the best choice is to have the student try out several. Everyone uses different bow pressure (arm weight) and bow speed and it's important to pick the bow that functions well for the student (not the teacher).
The Coda GX bow is an outstanding value for the money. In our shop it competes very well with wood bows that are priced four times as high. The Coda GX bow has become our best selling bow. The Coda Joule bow is also a great bow for advanced players, especially those who play fiddle music or extended range instruments. It gets an amazing clarity across all of the strings and is extremely easy to handle. The Coda Prodigy and NX bows are great step-up bows for the advancing student.
The only way to really be certain about which bow is the best choice is to have the student try out several. Everyone uses different bow pressure (arm weight) and bow speed and it's important to pick the bow that functions well for the student (not the teacher).
The Coda GX bow is an outstanding value for the money. In our shop it competes very well with wood bows that are priced four times as high. The Coda GX bow has become our best selling bow. The Coda Joule bow is also a great bow for advanced players, especially those who play fiddle music or extended range instruments. It gets an amazing clarity across all of the strings and is extremely easy to handle. The Coda Prodigy and NX bows are great step-up bows for the advancing student.
How often should a violin be re-appraised to account for the increase in valuie?
The re-appraising time line depends on several factors, including the price range that the instrument is in and market conditions. When the economy slows down the market conditions typically slow down and values don't rise as quickly as they do in a good economy. If you have a "fine" instrument, I'd check with your appraiser every couple of years to find out if it is worth having your appraisal updated. Most appraisers will, for insurance purposes, appraise on the high side in order to give you a few years between updates.
One thing to keep in mind is that student instruments typically depreciate with use and wear and tear. Many students falsely think that their instrument should go up in value, when in fact, they usually don't.
Disclaimer: Every appraiser has their own thoughts on value and the rate at which it increases.
One thing to keep in mind is that student instruments typically depreciate with use and wear and tear. Many students falsely think that their instrument should go up in value, when in fact, they usually don't.
Disclaimer: Every appraiser has their own thoughts on value and the rate at which it increases.
I've been told that my violin has a wing crack. Is it important to the health of the violin to repair this?
Yes, the wing crack should be repaired as soon as possible. While it will not degrade the value of your instrument it could prove to be difficult to repair if left for too long. As the seasons change the instrument expands and contracts and the crack may not want to come back together properly. In addition, the longer a crack stays open the more likely it is that dirts and oils will get into the crack and not allow the glue to adhere.
My violin has a (permanent?) cold, Help!
Is there any chance that this instrument has been re-graduated? If an instrument is carved too thin, over time it can sound really cloudy and wolfy. Do you know the history of this instrument? Perhaps you should have a different violin shop check it over.
The other things to consider are if you need new strings. Also, it could just be that the low humidity from winter makes it sound terrible. You might want to wait it out and see if it still sounds that way during the summer.
Hope this helps.
The other things to consider are if you need new strings. Also, it could just be that the low humidity from winter makes it sound terrible. You might want to wait it out and see if it still sounds that way during the summer.
Hope this helps.
I have a bow made of wood of pernambuco. I know it is worth several thousand dollars. Today, I accidentally dropped it on the floor and it broke. I
Take the bow to your luthier and see if it can be repaired. If it can then get an estimate and talk to your insurance company. Depending on where it's broken, if it can be repaired, it should play like it did before but it will loose significant value.
My violin is set with extra low action. If there are no audible "symptoms" from doing this, is there any reason that I should have this modified?
If you are comfortable with your instrument the way that it is then just leave it. If you have a taller bridge made you might find you have more brilliance and better projection. Many advanced players like the strings on the higher side, especially at the nut.
How Can I Clean a Dirty Violin Fingerboard?
The best way to get to the fingerboard is to have a violin shop do the cleaning. The shop will take the strings off the instrument so that they can get to it. I suspect that if the fingerboard is that dirty then the rest of the instrument could use a professional cleaning as well.
It is a very, very good habit to wash your hands before playing the instrument. Also when you are practicing for a lengthy period of time, it's a good idea to take a break, rest your body and wash your hands again before your resume. That will help keep the build up of sweat and oils off of the strings, fingerboard and neck of the violin.
It is always best to avoid touching the varnish of the instrument. We see instruments come in that are caked with makeup and smell like perfume or cologne. Keep your instrument as clean as possible.
It is a very, very good habit to wash your hands before playing the instrument. Also when you are practicing for a lengthy period of time, it's a good idea to take a break, rest your body and wash your hands again before your resume. That will help keep the build up of sweat and oils off of the strings, fingerboard and neck of the violin.
It is always best to avoid touching the varnish of the instrument. We see instruments come in that are caked with makeup and smell like perfume or cologne. Keep your instrument as clean as possible.
Looking For A Violin Case Comparable to a BAM
Are you looking for a light weight case? There are several on the market however, the quality is poor on most of them. I would avoid any case that has a foam construction, unless you feel like replacing the case every few years. There is a lightweight case that you can get from Shar that is medium quality:
If you are looking for a moderately priced case that is very well made, durable and will give you many years of service I would suggest any case from Bobelock, other than the lightweight model. They have cases that are made of fiberglass or wood shell. You can get these cases in oblong or half moon. Please visit their website: www.bobelock.com
Gewa makes some nice cases but most of their lower priced models are made in China and don't hold up very well. The more expensive cases are made in Germany. They are expensive because of the exchange rate. I don't feel that their suspension system is as good as the Bobelock is. I feel the same about Negri, Musafia and Riboni cases.
I hope this helps.
If you are looking for a moderately priced case that is very well made, durable and will give you many years of service I would suggest any case from Bobelock, other than the lightweight model. They have cases that are made of fiberglass or wood shell. You can get these cases in oblong or half moon. Please visit their website: www.bobelock.com
Gewa makes some nice cases but most of their lower priced models are made in China and don't hold up very well. The more expensive cases are made in Germany. They are expensive because of the exchange rate. I don't feel that their suspension system is as good as the Bobelock is. I feel the same about Negri, Musafia and Riboni cases.
I hope this helps.
How Can I Learn More about the Make and Origin of My Grandfather's Violin?
That is a very good question. The best way to find out about a violin is to take it to a violin shop for an evaluation. Many violins have a label glued to the back on the inside. However, the label is the last thing that a violin expert will look at. It is easy to put a false label in an instrument and therefore they can prove to be very misleading. In some cases a maker will brand their name or mark in an instrument and that can help with identification.
A violin dealer typically has seen hundreds or even thousands of instruments and bases their opinion on their recollection of viewing all of these instruments over time. Because violin forgery has been going on for well over a century, the best way to find out about your instrument is to take it to someone with knowledge in violin identification. The patina of an instrument can help date the violin, however, there are many methods that violin makers use to make new instruments look a few hundred years old. You can look at pictures of instruments in books and on the web but unless you have a well trained eye to spot very small details specific to certain makers chances are good that you could come to some wrong conclusions.
There are thousands of violins in circulation that were made between 1880 and 1930 that have labels from the old masters such as Stradivari, Guarneri, Amati, Steiner, Bergonzi, Schweitzer, Vuillaume, etc. The label in some cases simply means that this instrument was built on that particular maker's pattern and in some cases was meant to deceive the buyer.
A violin dealer typically has seen hundreds or even thousands of instruments and bases their opinion on their recollection of viewing all of these instruments over time. Because violin forgery has been going on for well over a century, the best way to find out about your instrument is to take it to someone with knowledge in violin identification. The patina of an instrument can help date the violin, however, there are many methods that violin makers use to make new instruments look a few hundred years old. You can look at pictures of instruments in books and on the web but unless you have a well trained eye to spot very small details specific to certain makers chances are good that you could come to some wrong conclusions.
There are thousands of violins in circulation that were made between 1880 and 1930 that have labels from the old masters such as Stradivari, Guarneri, Amati, Steiner, Bergonzi, Schweitzer, Vuillaume, etc. The label in some cases simply means that this instrument was built on that particular maker's pattern and in some cases was meant to deceive the buyer.
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