Q and A: Why does my bow bounce?

Question: Hi, I've played violin for about 15 years. When doing long bow strokes, especially on open E, I get a little bounce in the middle of the stroke/bow. Normally don't notice it in the middle of a passage, especially with vibrato "hiding" it. I try to keep my arm and wrist totally relaxed, but I still get a little bounce that breaks up a smooth phrase. Any advice? Thanks

Answer: This could be caused by your bow.  Every bow does this to some extent, the problem is when you can actually hear it.  When a bow is tightened too much it can become bouncy and hard to control.  Check the stick of the bow to see if it is warping in one direction or another.  If it is warped, have the stick straightened by a qualified luthier.  A good luthier can also adjust the camber on your bow to minimize the bounciness.  If you find that nothing works to control this problem it might be time to look for a different bow.

Is it a Stradivarius? An Appraisal

As a violin dealer, I often am asked whether an old violin owned by a customer might be a Stradivarius. The following is an appraisal of an instrument of the kind typically brought to me labeled inside as a Stradivarius. Is it a real Strad? Read on and find out!

Appraisal dated January 31, 2010

Dear Jeff,

Thank you for your inquiry about your violin. I have examined the photos and will offer you my opinion on your instrument. Disclaimer: It is always difficult to do a complete assessment of an instrument through photos.

General Remarks: Your violin appears to be a copy of a Stradivari made circa 1900. My guess is that it was made in Germany although it could have been made in Czechoslovakia. The borders were not as defined during that era as they are today. From the photos, the violin appears to be in reasonably good shape although I did note a few top cracks. There did not appear to be any soundpost cracks in the top or back, which is good. The other cracks can be repaired should you choose to do so. In addition the violin is in need of standard set-up work, which would include new pegs, nut, plane fingerboard, bridge, soundpost, tailpiece, tail wire, fine tuner(s), end button and strings. The violin appears to need a few corner grafts and some cosmetic work such as cleaning and retouch. From what I can tell both bows would be more cost effective to replace than to fix.

Specifics:


1. It is hard to see in this photo but there is a crack ascending from the saddle on the right side. Also there is a crack that originates from under the chinrest. Because of the angle this photo was taken the ff holes appear to be elongated and resemble Guarneri ff holes rather than Stradivari, but I think if the photo were taken straight on they would resemble Stradivari ff holes. Also the fingerboard appears to be ebony (rather than maple dyed black) and the purfling (the alternating black and white strips around the edge) is inlaid. This gives an indication of the quality of the instrument. Strad copies circa 1900 were made by the thousands and of varying degrees of quality. The very cheap copies did not have ebony fingerboards, or pegs and did not have inlaid purfling.



2. This ff hole resembles a Stradivari ff hole and it is easy to see that the purfling is inlaid. To restore this violin to pristine condition both corners in this photo should have a corner graft, which is where new wood is added and varnished to bring the corners back to the original condition. There is also a bit of denting in the C bout. This could be steamed to bring out the crushed wood and then retouched with varnish to make it look great. This would be for cosmetic purposes.




3. This photo shows the neck joint and the ebony fingerboard. This is shot helps to date the violin because the original varnish is unbroken where the neck joins the ribs and the back button. If the violin were made prior to 1850 the neck and fingerboard would be short (ie baroque) or the original neck would have been replaced to bring the violin to modern standards which would include a higher neck projection and a longer neck and fingerboard.



4. I cannot make out the stamp on this bow but I suspect that it says Japan. It appears to be a cherrywood stick. This was a very inexpensive bow in it’s day and the repairs needed would greatly exceed the value of this bow. To most dealers this bow has no “salvage” value.



5. This photo does not show much detail but an educated guess would be that this is a brazilwood bow of German origin. If you look carefully on the stick behind the frog you may see the word “GERMANY” stamped into the stick. It appears that the hair has been left tight for many years and there is significant warping in the stick of the bow, both under the winding and I suspect further down on the stick. The ebony frog appears to be nickel mounted. Better bows generally have silver mountings. As with the other bow, the repairs required to get this bow into playing condition would greatly exceed the value of the bow.

Summary: In my opinion this is a classic “Strad Copy” violin that most violin dealers see on a daily basis. This type of violin was manufactured by the thousands from 1875 to 1940. These instruments were widely distributed by mail-order venues such as Sears Roebuck and Montgomery Ward. There were various grades of these violins made. A dealer typically looks at overall workmanship and other quality indicators such as inlaid purfling and if the fingerboard is ebony, also if the varnish is spirit (alcohol) or oil based. I will not offer a repair estimate on this violin because that can vary from shop to shop and from region to region. In perfect condition this violin could sell for anywhere from $200.00 to $2,000.00 and again that depends upon the region, the dealer and the market. Keep in mind that an object is worth whatever someone is willing to pay for it. In the mid-west (USA) this violin, in good playable condition, should sell for $600.00 - $1,000.00.

Respectfully submitted,
Sheila Graves
Violin Dealer, Simply Violin

How to Choose an E String for the Violin

Deciding which E string to use on the violin is a very individual choice. There are numerous E strings on the market and opinions will vary from player to player. This article will look at several popular brands and their characteristics.

There are many different types of E strings. They include plain steel, wound, gold plated, silvery steel, multilayer tin plated steel, chrome steel and plain gut.

Plain steel E strings are by far the most popular and preferred strings. They tend to give the truest sound with the most brilliant and clear overtones. A popular string currently is the Pirastro Wondertone Gold. It gives a clean and clear sound with even projection. The light or weich gauge Wondertone can also minimize wolf tones on the E string. If you are looking for a string with a little more color, the Jargar is an excellent choice. It adds more warmth to the sound and is popular amongst many violinists. Another great choices is the Westminster. The 27 1/2 gauge E is a high tension string and, on some instruments, it will open up the sound on all four strings. The Lenzner Goldbrokat has been used by violinists for many years. It is comparable to the Wondertone Gold E string and gives a clean and clear sound. However, Lenzners do not tend to last as long as Wondertones. Other good choices for a steel E include Corelli, Thomastik Dominant #129, Kaplan Golden Spiral, Prim, D'addario, Larsen and Hill, in addition to the many plain steel E strings by Pirastro.

The new generation steel E strings are plated with various alloys including silver, tin and chrome. Silvery steel strings are comparable to plain steel and can give a little more focus to the sound -- but at the cost of warmth. Pirastro manufactures these strings and they are sold as Evah Pirazzi, Wondertone Solo, and Passione. The tin plated E strings tend to have a more strident sound. Thomastik Vision uses tin plating. An excellent choice is the Pirastro No. 1 Universal E, which is chrome plated. This is a fantastic alternative to plain steel E strings, which can whistle. It retains the brilliance and clarity of plain steel -- with an easy response -- while eliminating the annoying whistle. This string is very good for violinists who suffer from hand perspiration.

Wound strings have been around for years. The two most popular wound strings are the Pirastro Eudoxa and the Thomastik Dominant #130. Both of these have a warm and rich sound, but lack the brilliance and clarity on harmonics and overtones. They tend to wear faster as the outer winding breaks down with use and perspiration -- thus leading to more frequent string changing. Hence, they are a poor choice for violinists with sweaty hands. Another popular wound E is the Kaplan Solutions, which is designed for violins that suffer from a whistling E. On many violins, they seem to make the sound seem somewhat dull.

Plain gut E strings are primarily used by baroque violin players. Since they lack an outer protective wrapping, they wear very quickly. They have a thin sound and generally sound nicer when the violin is tuned below A440. The Pirastro Chorda is the most popular of these. Gut strings are affected by temperature and humidity and require frequent tuning. As an organic product, they have a shelf life and require frequent changing.

Of the four strings on a violin, the E string is the least expensive. Thus, it is often possible to experiment with several options to find the one that best suits both your tastes and your instrument.

Embrace and Extend Suzuki - Simply Violin - The Sing, Play, Learn Songbook

Simply Violin: Sing. Play. Learn. Favorite Songs for Violin in First Position is a new book for beginning violin students. I have been teaching violin and viola for nearly 30 years and am always looking for new ways to inspire and teach my students. It can be difficult to keep today's children interested in learning violin -- especially when they are assigned unfamiliar songs and exercises. Although Suzuki has been considered the Gold Standard almost since Book One for violin first came out in 1978, I have always found the songs to be rather dull. I also think the level of difficulty rises far too quickly. In contrast, Sing. Play. Learn's songs are all intended to be played in first position, and every song can be played with or without using the fourth finger of the left hand.

After using the book for about 6 months, I have had good luck with it. I appreciate that there are 80 songs, more than contained in any other violin book that I can think of. And, yet, the children know most of the tunes and enjoy playing music that they recognize. The parents also are happy to hear recognizable tunes and are more able to help their children to learn them. Plus, the musical editing is very clear, the bowings and articulations well thought out, and there are no page turns within songs.

Another aspect of the book that I like is that it is divided logically into sections that feature fingerings such as first finger low, second finger high, etc., introduced separately. The book also has lyrics for each song. I have found that if a student is having trouble with pitch or rhythm, it can be helpful to sing the song first along with the student, so that he or she can make the connection to the notes and rhythms on the page. Because of its logical division of songs, fingerboard and note reading charts that Suzuki does not have, and arrangement in order of increasing difficulty, I do consider this to be a method book as well as a song book, and, thus, a possible competitor or at least supplement to Suzuki Book One. As an accompaniment book is also available, all of the songs can potentially be used in recitals, another strength.

I have found this to be a very well thought out book and am glad to have it in my teaching studio. However, to name just the few quibbles I do have with the book, I would like to see a page introducing beginning rhythms and possibly also some pictures showing correct bow hold, position for holding the violin, and proper positioning of the feet, as well as other instructional images, as are incorporated in the latest release of Suzuki Book One. However, because the book is unique in the market for beginning violin books, I think it is worth considering despite lacking these items.

I hope this book also comes out for viola, as there are even fewer good song books for viola than for violin.

Carl Flesch "Cliff Notes" - Simply Violin - Violin Scales & Arpeggios in One, Two, and Three Octaves

Many of us who have taught from the violin scale book by Carl Flesch have wished for a "Cliff Notes" version -- one that includes the familiar fingerings but without all the extra material, such as octaves, tenths, and parallel thirds. Of course, these have their place. But most students could benefit from a more simple (and portable) version.

Most violin scale books other than Flesch are lacking in several areas. First, they do not use the Flesch fingerings, which are widely considered to be standard in America as well as abroad. Most also lack arpeggios. Finally, they are often hard to read and/or densely spaced on the page. For these reasons, many (if not most) advanced students continue to study from the Flesch book, even though they may never use the majority of its pages.

I have also wished that a "progressive" book would come available -- one that included scales in one and two octaves rather than just three octaves. Even better would be a book including arpeggios with fingerings that are consistent not only within octaves, but between them as well.

Simply Violin: Violin Scales and Arpeggios in One, Two, and Octaves (based on Flesch) solves many of these problems. This book employs consistent fingerings. Plus, the notes are well spaced and there is ample room for the teacher to change fingerings if desired.

The two octave scales in this book are particularly nice for students who are auditioning for an intermediate youth orchestra. Further, all of them use the same fingering pattern, which allows the student to memorize them easily.

In this new book, I believe that I have found a viable alternative to Flesch that I can recommend in my shop to violin teachers who are looking for a more user-friendly version of Flesch. And, the book contains scales in one and two octaves, allowing for students of any level to begin scales and progress to Flesch fingerings in a logical and progressive way.

How to Care for Your Violin Bow

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.

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.