Violin rosin has been used to draw sound from the violin since the first instruments were carved from wood hundreds of years ago. Historically, rosin has been made from pine resin, a natural substance found in trees. Many different companies manufacture rosin, and each variety tends to have different characteristics that affect the sound -- shading the tone toward bright or dark, and adding varying degrees of "grittiness" to the feel and sound. Further, choosing the "right" rosin is largely a matter of personal preference. Although it functions well most of the time, pine resin does have some limitations -- it can crystallize in the cold, damage the varnish on the violin if left to sit, and often cracks or even shatters rather easily. Also, pine resin is an allergen for some, and can cause sneezing and watery eyes during playing in susceptible people.

Supersensitive Clarity Rosin for Violin and Viola is the first synthetic rosin I have seen that is a viable replacement for pine resin. Formulated to by hypo-allergenic, it does not damage varnish. Further, it is not affected by humidity nor does it absorb moisture, which helps it keep its tackiness without cracking in all seasons. But, most importantly, this rosin actually works nicely -- and, when played, seems indistinguishable from ordinary rosin (although its characteristics must be evaluated by the individual player). Using my setup, this rosin produced a smooth tone without much grit and nice clarity. However, every player has different preferences in feel and sound of rosin so no single brand is likely to suit every taste.

As a teacher, I have noticed that many of my younger students enjoy handling and applying rosin to the bow, and so the fact that clarity rosin comes in colors (pink, red, blue, green, and purple) gives it a modern look that is especially appealing to youngsters. Also, young students are more likely to over-apply rosin and also not to wipe the instrument clean as frequently as necessary to prevent ordinary rosin from damaging the finish. Thus, this colorful rosin can also help extend the life of the instrument.

Though I have not found a synthetic substitute for horse hair (or for my wood violins for that matter) that functions as well as the original, this rosin does appear to be a viable substitute for pine resin, and one that adds a little fun and color into the mix as well.

As a violin teacher, I try not to underestimate the value of teaching music that students know and enjoy, especially for beginners. While the Suzuki classics such as Gone With the Wind, the various selections by Suzuki himself (such as Perpetual Motion), and early music by Bach and Handel may satisfy some, there are, in my experience, many students left uninspired.
Many students have requested music by John Williams or other movie or television themes. Unfortunately, these are often quite chromatic and difficult, and the available music often cannot be played in first position or is quite awkward (having not been edited specifically for violin).
Indeed, forming a connection with a student relies, in my opinion, on providing music that inspires. Also, for youngsters, familiar music is usually far more palatable. It is tempting to shy away from teaching religious music such as Christmas songs and, year-round, sacred music such as hymns, spirituals, and Sunday School songs. Yet, for many students (and parents), this music has the potential to inspire, and often is both recognizable and, already, well loved. Examples of such music would be "Jesus Loves the Little Children," "Jesus Loves Me," "In the Garden," and, for specific denominations, selections such as "salve regina" or "A mighty Fortress." At Christmas time, good choices can be "We Wish You a Merry Christmas" or "Joy to the World."
In my experience, teaching sacred songs adds to the availability of familiar songs that can inspire students of all ages as well as engage parents. Since parental support and participation is, in my opinion, vital to the success of, in particular, the young student, it can be quite valuable to choose music that parents, as well as students, enjoy.
When choosing a book of sacred songs for beginners, it is important that it be edited by a violinist, and that, preferably, that it be scored to be played in first position. Choosing a book with either a duet part or a piano accompaniment allows the student to perform this music on his or her recital.
Of course, it is vital to be sensitive to the religious beliefs of the students and parents when offering to teach Christian or other sacred music. A gentle query into whether such music would be of interest has been, in my experience, sufficient to ensure that this is a welcome addition to the repertoire.

Now here is a brilliant invention for learning to play violin. A decal that peels off a backing and is applied to the violin as one piece beginning at the nut as a finger marker for first position. First Frets are made of clear, one-piece, self-adhering vinyl that lays flat on the fingerboard with no tapes. Four differently-colored and mathematically accurate stripes indicate the correct placement of each of the four fingers in first position. No more tapes that slip, stick, and, peel off! Thus, as First Frets present such a welcome alternative to cutting, measuring, and sizing individual tapes that may interfere with the left hand and also cause unwanted buzzing, I have been using them for about two years for violins sized 1/10 through 4/4, and I prefer them to tapes.
First Frets usually work quite well when students are playing on violins that have been set up well. However, on occasion, I have noticed buzzing if the action is set too low and the strings are very close to the fingerboard. This is because, when you stick a decal under the strings against the nut, this reduces the space between the fingerboard and the strings and thus the decal rubs against the vibrating strings during playing. However, this problem can be fixed if the violin's setup is adjusted for higher action. This can be accomplished either by having a violin shop "plane" (cut down) the fingerboard, or raise the nut.
Depending on string lengths, the lines may not be exactly accurate in their positioning on the instrument. Again, this depends on setup and each violin is slightly different. To address this, the First Fret can be moved forward on the fingerboard if the string length is long, or can be trimmed if the string length is short.
Sliding the First Fret decal under the strings without having it stick to the fingerboard in the wrong place somewhere along the way is easier than expected, and can be accomplished by violin teachers and students alike, if instructions are properly followed. However, teachers and violin shops that are experienced with installation usually find them easy to install. Also, the strings need to be loosened to some degree in order to apply the decal. Thus, care must be taken to prevent loosening of the strings to such a degree that the bridge falls down.
From my experience, as soon as a student is able to play in tune reasonably well, these decals can be removed.
Though certain issues must occasionally be addressed, First Frets do work well for the majority of students and violins. And, unlike tapes, they do not slide on the instrument, nor do they peel off and leave a sticky residue, or make the fingerboard feel bumpy and uneven. Thus, they are a vast improvement over ordinary tapes and, in my opinion, are worth a try, especially given that they are quite inexpensive to buy.

As a private violin instructor, I have witnessed many students who are unable to read notes. While one might expect this would be limited to beginners, players even at an intermediate to advanced level often struggle with reading music. Why is this the case? One reason is that beginners often associate notes on the page with finger numbers rather than note names. As a result, they often struggle with playing in positions other than first position, because the finger numbers are different from those they have already learned. For instance, the note B-natural in third position on the E string is played with the second finger, whereas, in first position, it is played with the first.

In addition, the concept that octaves consist of the same notes, critical to good intonation, is difficult to learn if a B-natural on the page is translated into a fourth finger on the E string, a first finger on the A string, and a second finger on the G string. Thus, students who read finger numbers rather than note names often have trouble with intonation in positions other than first, as well as difficulty locating the different positions.

In fact, it makes sense why students would learn to read finger numbers rather than notes when beginning violin. After all, this is sufficient for reading first position. Thus, it can be difficult for the teacher to realize that a student is not reading notes until that student needs to learn new positions. At this point, the habit is well established and can be quite hard to break.

Thus, learning note reading early is crucial to success on the violin. How to teach students this skill? One way is to use flash cards. Ideally, these should require the student to learn both note names and where these notes are found on the violin. However, students often find this task quite tedious. One way to make flash cards more interesting is to use ones that are colorful, or that incorporate pictures that are not related to note reading. It is important to use flash cards frequently, because, in the beginning, students will often count bar lines and spaces rather than recognizing notes at a glance. Yet, in practice, music goes by too quickly for this technique to work. Thus, teaching short cuts such as EBGDF (every good boy deserves fudge/ Ernie gave Burt dead fish) for notes on lines, and FACE for notes in spaces is useful in the beginning -- but, in the long run, it is important that students recognize notes immediately.

Teachers can assist in this process by asking students if they are reading notes or finger numbers, and by making sure they actually recognize the notes rather than counting lines and spaces. For students reading finger numbers, they can ask the student to use flash cards, and to name the notes during lessons.

First, a brief hsitory of Suzuki method. The Suzuki method first came to the the United States in the late 1960s, and its official organization, the Suzuki Association of the Americas, was formed in 1972. As it existed in its early years, its proponents believed that all children could learn to play the violin if started at an early age, and that the learning process occurs through two primary mechanisms. The first is imitation, primarily imitation of the teacher. The second is group learning, consisting of group lessons and group performances. The suzuki books were put together for two primary reasons. First, to offer a structured program of pieces of increasing difficulty to use with each student over many years of their development; and second, to facilitate group learning by keeping everybody "on the same page" and able to play the same pieces together.
Suzuki Programs have been extremely valuable to the classical music community because they start children young, at the point when they are best able to learn (between ages 3 and 7), and because they have generated enough interest to continously attract new generations of students to playing violin (and other stringed imstruments). The Suzuki brand has become almost a household name, and thus a very marketable title for a violin teacher to hold.

But: The Suzuki books are not, by themselves, "the suzuki method." And, use of these books in instruction, even exclusive use, does not constitute Suzuki Method. The books are merely a means to an end. And they were were written originally to be played by the teacher and imitated by the student without the student ever actually learning to read music on his own.
Without the group component, the Suzuki books have lost much of their ability to excite today's students. The bulk of the "songs" are from the baroque period, and are written largely by such eighteenth century composers as Vivaldi, Bach, and Corelli. The look of delight I so frequently see on their faces when I tell students they can play something else is very telling.

I do believe in learning by imitation, but I also think explanation is very important too, especially for older children. Although I do have recitals for my students, I do not offer group lessons or group performance. Fortunately, this need has been largely met by school systems with orchestra programs. I do frequently use pieces out of the Suzuki books, especially for beginners, (Book 1 is particularly useful). But when I see in their faces that the music just isn't reaching them, I make other suggestions or allow them to make their own (appropriate for their level) selections.

Suzuki intended the books full of pieces of increasing difficulty to be an essentially complete course of instruction. However, I believe in the value of scales, etudes, and exercises as more focused ways to develop technique. Of course musicianship, musicality, and love of music comes from, (what else!) playing music. And, in my opinion, the music must inspire the student. My students play everything from Irish fiddle to music and church and holiday music. And from Andrew Lloyd Webber to music from Titanic and Harry Potter. The music from Harry Potter, after all, was written by the great John Williams, who also wrote the olympic fanfare, musical film scores for Star Wars, Superman, and E.T. In other words, some of the most memorable themes of our age.

However, for students who want to participate in competitions, or in the best community student orchestras, or even one day attend conservatory, it is necessary, eventually, to introduce works from the standard violin repetoire. Most of which are not in those Suzuki books!

As for me, I started playing violin because my mother turned on the television one day when I was 3 years old and was greeted by 100 tiny suzuki students playing twinkle twinkle little star together. The very next day she brought me to MacPhail Center for the Arts in downtown Minneapolis and enrolled me in their suzuki program. My teacher was Mark Bjork, who was then the President of the Suzuki Association of the Americas. It was an excellent start, and I would not hesitate to recommend participation in a full suzuki program.

First of all, find a studio and a teacher who has a lot of electronic equipment and understands how to use it -- and is also, of course, an accomplished violinist! I have been teaching and performing on electric violin for the past 7 years and I have a lot of equipment! My Orono location is home to a high-end studio complete with mesa-boogie stadium amp, high-end Lexicon reverb and delay units, and a host of peddles, acoutic amps, and other effects boxes (and, of course, stereo sound). I can even attach a mic to your acoustic violin with an AMT rigged set-up.

Learning to play electric violin shares many similarities with studying acoustic violin, with a few important differences. The first is that almost every acoustic violin is shaped and tuned the same way. Electric violins, however, can come in many shapes and varieties, including 4-string, 5-string, 7-string, fretted, and some with the upper bout removed entirely to allow easier playing in the higher positions. And, in fact, your acoustic violin can be "converted" into an electric by attaching either a microphone or a piezo pickup to the body. Most other electric violins use a solid body, just like most electric guitars (such as the familiar stratocaster)

While there are many electric violins on the market by large volume manufacturers, most of these just don't sound very good. You can find some of the better electric violins pictured below, and you can click on them individually to be taken to each builder's website. I have played and/or owned all of the models pictured below.

1. Yamaha 4-string. In general, I am not a fan of mass produced instruments. Part of the Yamaha silent series, this model (SV-200) features a dual piezo pickup. This is supposed to improve the sensitivity of the instrument to the subtleties of your playing, especially dynamic range. Coming in at around $1000, this instrument is cheaper than the others I will review below. I thought the instrument was indeed responsive, certainly more so than previoys Yamaha instruments. The on-board pre-amp allows for some sound manipulation on the instrument itself rather than in a separate, detached unit. The down-side of this is that it increases the weight of the violin.

2. NS-Designs 4-String. NS Designs uses a proprietary piezo pickup that is designed to be very clean and sound more like an acoustic violin in its unprocessed state. While the model pictured is a 4-string, I experimented with a5-string model, and I thought that the neck was overly thick and the instrument rather heavy. Still, if you are looking for a clean sound, this might be the instrument for you. This model comes in at around $2,200.

3. Zeta has earned itself a lot of hype in part because Boyd Tinseley, of Dave Matthew's band, uses this model. In fact, it is called the "Boyd Tinsley." Zeta also uses a proprietary piezo pick-up that has a very characteristic sound. If you have ever heard Santana play guitar, then you probably recognize his distinctive sound that comes from the combination of his Paul Reed Smith guitar coupled with a Mesa Boogie amp. Most of the sound coming out of that amp, no matter how the sound is EQ'd sounds "Boogified" to me. Similarly, I felt playing on this instrument that my sound would get "Zeta'd" by the pick-up. A big downside to this zeta model is that it is quite heavy. This violin is priced at around $1,700.

4. Mark Wood 7-string Fretted flying V. Mark wood recognized that trying to hold a 7-string fretted violin under the neck is quite difficult, due to the weight. Thus, he designed and patented a "flying v-shape" with a strap that fits around your torso and holds the violin up into a playing position. Though it can take some time to get used to, this design really does support the weight of the fiddle well. This model is fretted and make no mistake about it, this is a big adjustment for the classical player. In fact, if you have ever played a mandolin, you probably realize how much the frets can change things. Sliding and vibrato techniques are very difficult on a fretted instrument. are In my opinion, the frets are best for allowing guitar players and others to navigate around the usual requirement of pinpoint accuracy with finger placement which is necessary for playing in tune on the an acoustic violin. This model, which is the flagship instrument in his line of electric violins, is priced at $3500. He also makesd unfretted versions that are cheaper and preferable to some. He uses either Barbera or Schatten pickups, which are mass produced piezo pickeps that are used in many different electric violins.

5. Jordan 5-string flamed wood. Mr. John Jordan makes custom electric violins in almost every material and combination of material, strings and frets that you can imagine. He used to work for Zeta but started his own design studio when he became disillusioned by Zeta's increasingly commercial attitude. Jordan handcrafts each instrument using his patented shape, which eliminates the peg-box and puts machined tuners near the bridge. This is designed to make the instrument lighter. Jordan is very much the luthier of electric instruments and many of his models, particularly the ones made of wood, are very attractive. Jordan uses a variety of pickups, including Zeta's proprietary model. In addition he likes the Barbera piezo pickup for a more "Stradivarius-like" sound, and recommends this pick-up for classical musicians. For rock, jazz and pop, he suggests using the darker, more "Guarneri-like" Ashworth piezo pick-up. Like most other electric violin makers, his 5-string unfretted is his most popular model. It seems to have a thinner neck than other electrics, such as the NS Design violin. This instrument comes in at around $2,300.
5. Acoustic Violin with Pickup. All of the violins described above are solid-body models. This means that the instrument has no resonating chamber and therefore produces little to no sound unless it is plugged in. Another way to create an "electric violin" is to replace the bridge with a piezo pickup bridge-mount that can be plugged in just like a solid body. The downside to this is that these pickups often do not sound as good, and feedback can be an issue. However, this option can sound quite nice and retains the shape and lightness of the acoustic violin. Common piezo models are the Fishman series and the L.R. Baggs. There are also several smaller "custom" companies that make these pickups, and it can be useful to try these if you don't like the sound of the Fishman/Baggs. This setup shares all of the same disadvantages as any other violin fitted with a piezo pickup, as described below.

6. Violin with Microphone. Pictured above is an AMT model microphone fitted to an ordinary acoustic violin, which extends into one of the f-holes. This is designed to accurately reproduce the classical musician's customary acoustic sound. The quality of the microphone is essential since feedback can be an issue, as can the quality of the sound. This is probably the best way, however, to reproduce your acoustic violin sound for increased volume or to plug-in to units that can manipulate the sound. Click on the picture above to link to AMT's website. They have individually designed microphones for dozens of instruments and are an excellent company.

Pickups. What all electric violins share is the need for an electronic pickup to transmit your playing to a unit capable of sound manipulation, such as a pre-amp or rack unit, and ultimately to another unit capable of sound production. The two major types of pick-ups in use in today's plugged-in instruments are piezo and electromagnetic. Piezo pickups are used almost exclusively for electric violins. They have certain characteristics that some players find less than ideal. While a bow change on an acoustic violin can be completely silent to the listener, the piezo pickup will always transmit bow changes and bow noise. The reason for this is that they are sensitive to pressure as their primary means of reproducing sound, and bow pressure is always variable. Also, piezo pick-ups have a tendency to sound fuzzy. Many different piezo pick-ups exist on the market, and some electric violin companies use their own proprietary models. The other type of pickup in use for electric violins is the electro-magnetic pickup. This is the pickup found in most guitars, and is considered the ideal form of sound transmission. While it is possible to build this type of pickup into an electric violin, it requires rather extensive modifications to the electric violin's internal design and is rarely used. Perhaps in the future this type of pickup will become more available.

Sound Manipulation. En route to reaching our ears, the electric violin's signal usually is passed through a unit (or more often several units) capable of sound manipulation. Many of the same devices used by electric guitar players may also be used for the violin. For instance, reverb and delay units by Lexicon can provide warmth and depth of sound, while distortion boxes can allow the violin sound to approximate that of the guitar (a la Jimmy Hendrix playing America at Woodstock). There are literally hundreds of different devices, including pedals, that can manipulate the sound. Below is one of Lexicon's top of the line reverb rack units.



Computers are also increasingly used for sound manipulation.




Pre-amps. For electric violins employing a pickup, a pre-amp is necessary to intensify the signal from your violin, and to allow you to EQ the sound. One example of a popular preamp is the L.R. Baggs Para Acoustic DI, pictured below. Some electric violins also have on-board pre-amps.

Further sound manipulation and signal intensification occurs when the signal is passed through an amplifier. Because most amps work best with mid and low frequency tones, it can be difficult to find a good amp for the electric violin, and even then it is usually necessary to spend a lot of time playing with the EQ, or you can purchase a "pre-amp" with more controls. Below is a popular Fishman amplifier, the Loudbox 100. One concern with amplifiers is that each leaves its own imprint on your sound.

PA system. For a more true reproduction of your sound, a PA system with speakers can also be used. The sound can still be EQ'd with a personal PA system like the Yamaha unit pictured below.


Sound Production. Finally, the signal, after passing through the different sound manipulation devices, is broadcast to our ears by speakers. Usually, these are built into the amp. You can also add additional speakers to create a stereo effect.

If you are looking to more or less duplicate your acoustic sound, playing electric violin may not be very satisfying to you. But for partcipating in a band, it allows the violin to speak with the same volume as the other instruments, and to alter the sound to fit in better with a rock or pop style of music.

That being said, electric violin usually requires a potentially rather expensive foray into electronic equipment, which can be a lot of fun but also difficult since the sound you are searching for may take a lot of time to find, and may require testing a lot of different gear. Finding "your" sound can be a journey. Some of the more neat things you can do is ue a 5-string, which adds a "c string," or employ an octave pedal, which can drop your pitch an entire octave. Or you can play with distortion or a wah-wah pedal. And, while excellent technique is vital for classical music, electric violin can be more forgiving.

I do play electric violin and have an extensive collection of gear, including several different amps and lots of boxes for sound manipulation. It can be a fun way to participate in groups where ordinary acoustic violin has traditionally been absent.

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Books offered by Simply Violin:
Violin Scales and Arpeggios in One, Two, and Three Octaves (Based on Flesch)
Sing. Play. Learn. 80 Favorite Songs in First Position
40 Christmas Songs for Violin in First Position
50 Sacred Songs, Hymns, and Spirituals for Violin in First Position
Advanced Contest Fiddle Tunes: Full Arrangements with Chords
Accompaniment Books for all song books.

Scales are Arpeggios are important for learning violin. And yet, many students consider them the bane of their violin existence. After all, they sound best when be executed with near-perfect technique and yet seem to lack interest, musical content, and melody.

What are the advantages to practicing scales? How better to learn to play even up-bows and down-bows, without rhythm or melody to distort rhythmical consistency and symmetrical bowing. In addition, key signatures must be mastered to play scales correctly and in tune. And, they force the student to play in many positions as well as to master the high reaches of the violin in a controlled manner. Intonation and good tone can also be developed through playing scales, along with a steady and consistent vibrato. Practiced at a rapid tempo, scales also develop fluency of the fingers and accurate shifting. Finally, from a practical point of view, many schools, colleges, conservatories, and youth symphonies require scales as part of auditions. Thus, failing to learn them can render the student unable to compete.

Also important are arepeggios. These consist of only three notes -- the triad that forms the root of the key signature of the arpeggio. For example, in the key of D, there are three notes in each arpeggio (D, F-sharp, and A), played in ascending and descending octaves. Arpeggios, like scales, help develop good intonation and understanding of key signatures. They also develop shifting skills along with good intonation, since the student must match the pitch of the notes in each octave to the previous octave. Like scales, when played at a rapid tempo, arpeggios also develop fluency of the fingers and accurate shifting. Finally, arpeggios may be required at auditions and thus are often necessary to learn.

It may be difficult for the student or teacher to choose an ideal book of scales and/or arpeggios. While the Carl Flesch book is considered the gold standard for playing them in three octaves, the book is also thickly layered with other difficult material such as tenths and thirds that can go on for pages. In addition, practically speaking, the book does not like to stay open and it can be hard to locate the scale or arpeggio to be played, due both to the sheer thickness of the book, and also to the seemingly "random" (though, in fact, it is not random) order of keys. Finally, the book does not contain scales in one and two octaves and thus is geared toward advanced students only.

For more beginning students, there are few books that incorporate scales and arpeggios in the same book, or that base their fingerings for one and two octaves on the Flesch fingerings -- or indeed on any other consistent logic.

Due to the seeming lack of good and modern options, I have compiled a manageable and simple book of scales and arpeggios in one, two, and three octaves that offer Flesch fingerings for the three octave varieties, but that also include one and two octaves scales and arpeggios. These consistent fingerings are based on and preparatory for those in three octaves included in the book by Carl Flesch.

Suzuki Violin School: Book One has been a bedrock of violin education since it was introduced in the 1970s. One of the first books to rely on arranging songs in order of increasing difficulty, it is a favorite of violin teachers, Suzuki and non-Suzuki alike.

But this book has certain limitations that can make supplementing its content a good idea. A principal issue is that there are only seventeen songs in the first Suzuki Book, and, by the end of the book, the student is expected to play works by both Bach and Schumann, in edited but still rather difficult arrangements -- quite a jump from folk tunes and the five etude-like works written by Shinichi Suzuki.

In addition, many teachers feel there is a rather large gap in difficulty between the 12th and 13th pieces, as well as between the 13th and 14th. After twelve rather easy pieces consisting of simple folk tunes and original and easily played compositions by Suzuki himself, comes the 13th work -- Minuet 1 by J.S. Bach. New to the student in this piece are: hooked bowings, necessary use of the fourth finger for hitting the B in first position on the E string, and a change of key signature midway through that forces the student to differentiate between C-sharp (second finger high) and C-natural (second finger low) for the first time.

The gap in difficulty between the 13th piece in the book and the 14th (minuet 2 by J.S. Bach) is even more profound. First, the student must play a work a full page in length -- double the amount of staves of any previous work in the book. Next, the student must jump from the E string to the D string at a rapid tempo and follow this skip with a hooked bowing. Even the first measure is difficult, with 4 string crossings in the first 6 notes. Fifths played by the same finger first on a high string and then on a lower string -- a notoriously difficult technique for beginners -- must be executed at a rapid tempo. Triplet rhythms are also introduced for the first time. And, making its first appearance in the book, is a brief interlude in e minor that requires third finger high on the D and A strings -- three firsts for the student that occur almost at once.

In the end, it would seem that Suzuki Book One is, in reality, more like two separate books. The first seems of appropriate difficulty for the beginner. The second, starting around the 12th piece, seems to belong in a separate book -- and one very much more advanced than the first.

Another issue with the Book One is the choice of songs -- and this concerns even the first eleven. While there are a few songs that most children know (Twinkle, Twinkle being the most obvious), the other folk songs included are less well known -- like "O Come Little Children," "May Song," and "Song of the Wind." Following the folk songs are five "songs" by Suzuki, including pieces titled "Perpetual Motion" and "Etude." These often fail to engage the student, which, to me, does not seem all that surprising.

Thus, while the Suzuki Books were groundbreaking material in the 1970s, it would seem that supplementing them with additional easier material --along with more familiar songs-- might be a good idea. After all, it takes time to develop technique and eleven easy songs do not seem enough, in my opinion, to prepare for works by J.S. Bach or Schumann. For this reason, I have written my own book, based on Suzuki and also arranged in order of increasing difficulty, but also including note reading and fingerboard charts. The songs are also divided into sections that introduce new notes in small groups. Thus, the student can learn by studying this book not only finger numbers but also the note names that he or she is playing. This book consists of 80 familiar songs, including many that are only two to three staves in length. Not only do these easy songs prevent students from feeling overwhelmed by long and unfamiliar pieces, they also permit them to master new works in a much shorter time. This slower pace can allow the student to build a more solid technique without rushing them into works that are too hard.

While Suzuki Book One is greatly valuable, it is my opinion that difficult songs are introduced too early and there are not enough familiar and easy songs that students enjoy playing. Thus, supplementing it with additional easy songs can prevent a student from picking up bad habits that can result from playing works that introduce too much difficulty too soon.

The subject of shoulder rests has generated a lot of controversy amoung teachers and violinists. Because they were not used until fairly recently and also because they may affect the sound somewhat, there are still some teachers who recommend against using them at all. Certainly, there are some violinists who do fine without a shoulder rest. Often, these people have short necks.



For example, David Oistrakh, one of my favorite recording artists, fits this mold!
For the rest of us, a shoulder rest can make playing the violin much more comfortable. It frees the left hand from having to support the instrument and should allow the violinist to play without raising the left shoulder. The choice of shoulder rest depends on the unique physiology of each student. Sponges (even a kitchen sponge with a rubber band) and Play-on-Air are examples of padded rests.


Play-On-Air. Some teachers prefer rests that are not rigid, such as this Play-on-Air model. However, the sound can be affected by the pressure of the pad against the back of the violin.



There are also various rigid models with feet that are produced by many manufacturers. Each fits slightly differently.


Everest. The Everest is made in America and is relatively cheap. The padding is thick and the rest seems to fit well for medium to long necks. One model offers collapsible folding feet.

The Bonmusica is made of flexible metal with a "hook" that can be molded to fit over the shoulder. It is a heavy rest that can affect the sound more than some but can work well for violinists who have not found any of the other rests to be comfortable.

Kun is the original inventer of the rigid rest with feet. There are several different models. They tend to fit most people fairly well but can be expensive.




The Mach One is light and made of a nice quality maple. Some people find it very comfortable but it is rather short and the padding can seem slippery.




The Wolf is an excellent rest for very tall necks, but can feel very rigid. Though it appears to have no curve, it can be bent to suit the player.





The viva comes in many colors and adjusts in two planes. This extra adjustibility allows it to accomodate certain violinists who have had difficulty finding a comfortable rest.



In sum, my recommendation for selecting a shoulder rest is to try several and look for a comfortable fit. In the case of the rigid models with feet, the pad should rest securely against your shoulder and collar bone without any gaps between you and the rest. Try to find a violin shop that has a selection of rests and will allow you to try them. Adiditionally, your teacher should be able to help you assess fit.

What is a Circle of Fifths diagram? It is a visual representation of the major and minor key signatures arranged in order of ascending and descending perfect fifths. On the Circle, the addition or subtraction of a sharp or flat to any key signature creates a new key that is either up a perfect fifth (in the case of addition of a sharp or flat), or down a perfect fifth (in the case of subtraction of a sharp or flat) from the original key. For example, the key of D Major has two sharps (an F and a C). Add an additional sharp (a G) to D major, and the key becomes A major -- which is up a perfect 5th from the original D Major. Take away a sharp from D Major, and the key becomes G Major, which is down a perfect fifth from the original key of D.

Logically, the Circle of Fifths diagram is circular in shape, much like an analog clock. When a sharp is added, the new key is placed clockwise on the diagram. When a sharp is removed or a flat is added, the new key is placed in a counterclockwise position relative to the previous key. Major and minor keys with the same number of sharps and flats are placed together.

The Circle of Fifths Diagram has many possible uses. The first and most obvious is to allow the student to determine the key of the music he or she is playing. If a piece has two sharps, a quick glance at the circle tells the student that the music may be in one of two possible keys: either D major, or b minor. If, instead, the music has four flats, the possibilities are either A-flat Major or f minor.

Another use of the circle is to help the student memorize scales. When learning scales, the student can use the circle to determine how many sharps and flats there are in any given key, and thus which notes must be "raised" or "lowered." He or she can also determine from the diagram how the keys are related. For instance, if the student memorizes that C major (and also A minor) has no sharps or flats, he or she can easily determine the key signature of any major or minor key simply by counting how many perfect fifths such key is away from C major (or, if minor, from A minor) -- or from any other reference key. For instance, suppose the student must determine how many sharps or flats there are in A Major. Moving clockwise, adding a fifth to C gets us to the key of G major. Then, a perfect fifth away from G yields D Major. Finally, a perfect fifth up from D Major yields A Major. (Intervals are counted including both the first and last note along with all notes in between). This represents three clockwise leaps of perfect fifth intervals away from C; thus, A major must have three sharps. (Had the student tried moving counterclockwise --or down sets of perfect fifths-- he or she would have encountered F, then B-flat, then E-flat, from which it would be impossible to ever reach A.)

A third good use of the Circle of Fifths diagram is to determine the relative major of any minor key -- since these are placed together on the circle and have the same key signature. Similarly, the dominant chord of any key is one clockwise step away from the tonic, and the subdominant (or IV chord), is one step counterclockwise removed from the tonic. Seeing these chords represented on a diagram can help the student understand basic harmony.

Of course, not every circle of fifths diagram is created equally. And, certainly, these concepts (that are rather cumbersome to describe in writing) are simply intuitive on well designed Circle.

I encourage every teacher and student to use the Circle of Fifths diagram to help with understanding of key signatures and with basic harmony.

House of Note, a local violin shop in the Minneapolis Area, carries them. So does A to G Music, in Osseo Minnesota.

These have proven quite hard to find!

Lisa

Well, changing the e string is a good place to start. Dominant e strings are notoriously poor performers. I like jargar e strings, and also gold label e by pirastro. I think there is general agreement about this in the violin community.

For the other strings, it is harder to say. Are you having issues now with it sounding muffled and cloudy or is it too bright? What I would recommend would depend on which issue you have.

It sounds like a high tension string like a pirastro evah pirazzi would be a bad choice. On the other end, a lower tension string such as an Obligato might sound muddy if the intrument already sounds muffled. Visions can clear up a muddy sound.

I don't know where you live but here in Minnesota it is very dry and this can also really affect an older instrument and make it sound muffled and muddy, like it has a cold. If you are not using a dampit or other humidification system, you could try that. If the pegs are slipping, that is a good clue that the instrument is dry. If there is a more moist and cool area in your house, you could try storing the violin there.

Remember that "everything" affects the sound -- including your own playing. If you haven't played in a while, sometimes it is harder to make the violin sound as good as you could when you were feeling more confident.

Also, if the person who played the instrument tended to play out of tune, this too can affect the ring of the sound years later and the instrument needs time to re-adjust.

So maybe you could tell me a little more about how the instrument is sounding now (other than the e string).

Incidentally, changing the e string could change the way the other strings play, so that might make a difference too.

I looked over your list of current equipment, taking into consideration that you have been told to treat my violin as though it were a guitar and your need for portability). Here is the list that you provided.

Boss (Chromatic Tuner)Boss (Chorus

Ensemble Pedal)Boss (Turbo Distortion Pedal)
Boss (Volume Pedal)Line 6
(Verbzilla)Gator Pedal Board (as I travel
extensively and need to be pretty
portable

electric guitar, and have already purchased the
following items:
Boss (Chromatic Tuner)Boss (Chorus
Ensemble Pedal)Boss (Turbo Distortion Pedal)
Boss (Volume Pedal)Line 6
(Verbzilla)Gator Pedal Board.

I would suggest purchasing a beginner level book and, temporarily, starting over from the beginning. Good options are the Suzuki Method Books and also perhaps my Song Book series, which you can view or purchase here: http://www.simplyviolin.com/page10/page10.html.

For "starting at the beginning" the most suitable book in the Simply Violin series would be: Sing. Play. Learn. 80 Favorite Songs for Violin. For Suzuki, Books One and Two.

All of these books are also available at Amazon.com.

Starting at the beginning entails perfecting songs/pieces that you can play without difficulty and only advancing to the next song when the current one sounds exactly the way that you want it to sound. Since books like Sing. Play Learn and the Suzuki books are arranged in the order of increasing difficulty, you should be able to make progress through playing songs that are easy enough for you that you can focus on the basics. Playing music that is too hard is one of the biggest reasons for lack of progress.

I would suggest that you practice slowly and pay particular attention to bow placement on the string. Make sure you are drawing a straight and even bow and lead with the wrist. Make sure that you are not squeezing the neck of the violin with your left thumb. If you are having trouble finding the notes in first position I recommend using a product called First Frets. First Frets applies to your fingerboard and will show you the notes in home position. I have a local violin shop that carries them and I'd be happy to give you their information if you have difficulty finding this product.

Another good idea is to listen to recordings of great violinists, such as Perlman and Heifetz and to watch them on Youtube if you can absorb some of their technique that way.

Don't get frustrated if you don't sound good right from the start.

One thought would be to take a lesson even once a month or once every couple of months if possible. It is often difficult for students to see themselves and sometimes it takes a teacher to diagnose certain issues.

Best of luck to you.

Strings are very personal things. There are so many to choose from and which set will work best for you depends on the individual characteristics of your violin and your playing style. Unlike chin rests and shoulder rests, you cannot realistically try all of the available options before you make your choice. Thus, you may find my review of strings to be, at least, a starting point for choosing a set. It is important neither to underestimate nor to overestimate the effect that different strings can have on an instrument. Sometimes, rather than trying several different sets, it makes more sense to evaluate other things that affect the sound, such as placement of the soundpost and bridge or maintenance issues such as cracks or open seams. In addition, strings have a synergistic response; hence, it is usually best not to mix sets, with the exception of the e-string.


There are many different types of strings on the market today, but most of them fall into three main categories: 1) steel strings; 2) gut strings; and 3) sythetics designed to sound like gut but which are designed to offer a quicker response without the need for frequent tuning, and 4) a gut and synthetic blend.

1) Steel strings have a very quick response but also a thin, one-dimensional sound. Most violin e-strings are made of steel, but apart from that, steel strings on not a good option for a classical violinist and should not even be considered for the a, d, or g strings.

2) Gut is the origninal material used for violin strings. Gut strings have a warm, complex sound and were used exclusively until the introduction of synthetics in the early 1970s. These strings are typically wrapped with different metals to improve volume and responsiveness, which was certainly a large improvement over the plain gut strings that were used in earlier centuries. Gut has two rather limiting properties. The first is that the strings simply will not stay in tune. Sometimes they even need to be re-tuned several times during a performance. The other issue is that gut strings have a very slow response. For these reasons, gut strings have largely fallen out of favor. The two most popular gut strings still in use today are both made by Pirastro. These are the Oliv set and the Gold Label. The Gold-label e string is tan excellent choice and is used in combination with many other string sets.

3) Synthetic strings were introduced in the early 1970s as an alternative to gut. The first synthetic string released was Thomastik-Infeld's Dominant line. The a, d, and g consist of a "perlon" (plastic) core wrapped in metal. In several ways, these strings were a huge improvement over gut. First, after requiring a few days to stretch, they stayed in tune, often for days at a time. Second, they had a very quick response. 3) they were much more responsive and coulld tolerate much more bow pressure. For these reasons, sythetic-core strings have largely replaced gut and are the choice of most professional violinists, including soloists. One of the first to adopt synthetics was violin soloist Itzakh Perlman, whose gorgeous tone is evidence of how beautiful the synthetics can sound. (Perlman plays the Bruch Concerto, Movement 2). Dominants "dominated" the synthetic string market for many years, and it took a long time for other companies to launch competing string sets. In recent years, we have seen sythetics with many different core materials from kevlar (Corelli) to a material used for tennis racket strings (D'addarrio zyex). Because most violinists are always searching for a better sound, the new synthetics have gotten a lot of attention but have not necessarily been improvements over the time-tested Dominant string. In my opinion, Pirastro's relatively recently released Evah Pirazzi string set marked the first excellent alternative to Dominants, and has replaced Dominants for many soloists. (Pirastro won't tell us what the core is actually made of!)

4) Pirastro has recently released a string that falls into a fourth category, namely a combination of gut and synthetic. This string is called Passione and will be included in my review below. The image below contains pictures of all of Pirastro's current string sets!



A few final general hints about string selection: Be careful when you experiment with strings. Each time you change a string, the stability of the bridge is disrupted. If the bridge should lean too far it could snap or collapse. This could cause the wood in the body of the violin to crack. Also, strings needs time to break in. The final sound and responsiveness are usually apparent within 3 to 4 days. Thus, it is generally not wise to judge a string by its initial sound.

Below is my review of strings. It is not a complete list. I've included commonly available strings with which I have a reasonable amount of experience, either as a teacher or as a performer.


Dominant strings, recognizable by the purple winding in the peg box, are the original synthetic core string and have a perlon core. They have been considered the industry standard for many years. Dominants are fairly bright and sound good on most instruments. However, the e-string is generally considered to be weaker than the others and is often replaced with a Pirastro gold e-string. Itzakh Perlman is well-known for using Dominant strings throughout most of his career. These strings are a good place to start for almost any violin. Occassionally, players complain of a slightly metallic undertone to the sound.


Thomastik/Infeld, the manufacturers of Dominants, released Infeld Red and Blue as an attempt to update its brand following the introduction of a myriad array of synthetic core strings that were brought to the market to compete with Dominants. However, these strings have not been particularly successful and probably do not represent an improvement over the original Dominant String. Therefore, I do not recommend purchasing either of these two set

The Passione string by Pirastro is a relatively new addition to the market and a very interesting one. Because it combines a synthetic core with traditional gut, it is advertised as having the sound of gut and the stability of synthetic. In reality, I think pirastro has reached a reasonable compromise with this string. It is definitely not as stable as most synthetic core strings, but does have some of the warmth of gut. However, it is one of the most expensive sets on the market today. These strings can be helpful, though, for a violin with a high arch because of the lower-tension.

The Evah Pirazzi set, by Pirastro, has become the darling of soloists across the globe. It is very powerful and bright. However, on a violin with a high arch, these strings can be so tense as to basically crush the sound. Additionally, on instruments that are already overly bright, these strings can sound quite harsh. The greatest soloists of our era certainly need a huge, powerful sound. But for the rest of us, a different string might be a better choice. In fact, I have seen more than one violinist have his bridge collapse when putting on these strings because the tension is so high!

Vision strings, along with their brighter siblings, vision titanium strings, are Thomastik/Infeld's response to the Evah Pirazzi. The Titanium Solo is very bright and tense. Some players feel the sound is slightly metallic. But some luthiers swear by using the "vision titanium orchestra" strings to bring a soft, highly arched instrument back to life.


The Obligato string, by Pirastro, is another synthetic-core string that is similar to the Evah Pirazzi, but with a slightly slower response and a darker sound. The Obligato was created to compete with gut strings. It is a very popular string and somewhat similar in sound to the Pirastro's Passione set.


Tonica strings, by Pirastro, were also designed to compete with Thomastik/Infeld's Dominants. They are cheaper than Dominants but tend to be less powerful and are more dark. It is possible that they tend to wear out more quickly than other strings.



Helicore strings, by D'Addario, are wound strings with a steel core. They are amoung the few steel strings that sound quite good on many instruments. Because of the steel core, they have a very quick and pleasing response.


Violino set is also by Pirastro, and represents another attempt to compete with Dominants. They tend to have a sweet tone, but with less projection than Dominant strings. They can be a good choice for an instrument that tends to have a harsh sound.



There are many other string sets on the market, but those listed above are amoung the most popular.

Choosing an E-string is a different story. Almost all e-strings are made of steel. Some are wound, but the majority are not. Most steel e-strings can be combined with any set of strings. A few of the most popular are Pirastro Gold Label, Hill, Westminster, Goldbrokat, and Jargar. Since e-strings are relatively cheap, it is reasonable to try a few, since each one will tend to sound different from one instrument to another. Certainly, however, the Pirastro Gold Label has been considered the gold standard for decades.

Pirastro's Gold Label e-string has been used for decades in combination with almost every string set and tends to have a smooth, lush, but powerful tone. It is the benchmark against which all other e-strings are measured.



Getting back to your original question, for a soft violin with a high arch I recommend either: Pirastro Passione or Obligato with a Gold label e-string; or Vision Titanium Orchestra with matching vision titanium e string. Strings usually come in several different gauges. Commonly, light, medium, and thick. Often, a soft violin with a high arch can benefit from a lighter tension. Conversely, stringing a violin with a high arch with a higher tension set of strings can seem to choke the sound entirely.

Remember that finding a luthier you trust is essential to keeping your violin sounding as beautiful as possible. He or she can recommend strings to suit your instrument, and can also make sure that your instrument is not in need of repairs that are affecting the sound. As one wonderful luthior once told me, "What affects the sound? The answer is: EVERYTHING!"

This is an interesting question.

A little research produced some interesting results. Until two years ago, ESPN broadcast the Indian Wells Tennis Tournament, also known as the PNB Paribas Open, a Masters 1000 level pro tennis ATP and WTP event. This event, located in Indian Wells, California, is perhaps the united state’s most prestigious tennis tournament, aside from the US Open, located in Flushing Meadows. This year’s March, 2009 event has produced some great match-ups and matches. We’ve seen Rafael Nadal finally solve David Nalbandian, Andy Murray get pushed by Ivan Lujbicic, Andy Roddick defeat Novak Djokovic (again), Roger Federer take out Gonzalez and Verdasco, with more exciting matches to come in the men’s semifinals and finals play on Saturday and Sunday.

The semifinals are Roddick/Nadal and Murray/Federer. Can you think of a two more interesting matches? Roddick against Nadal on a fast hard-court? A re-mtach of the US Open (which has not gone Federer’s way since)? This sounds like great tv, at least for tennis fans.

The recent TV broadcast history of this event has ESPN carrying it until last year it was picked up by FSN, otherwise known as Fox Sports Net (USA). And here the problem begins. Although You can access a schedule off of the website for the tournament, this schedule is highly misleading. According to this schedule, if you get FSN you get to see everything live from Round 3 forward. However, note the asterisk that states: Check your local listings. These are subject to change.

So here is the truth: you will NOT see the men’s singles semifinals or finals or (both) live on FSN or any other television station for that matter if you live in the following cities or (in some cases) states: Minnesota (statewide), Wisconsin(statewide), New York (statewide), Denver, Boston, Florida, Atlanta, Houston, Detroit, Pittsburgh, Washington, Baltimore, Atlanta, Miami, and Dallas.

And, since FSN networks choose locally, whether to broadcast these events, sometimes even the scheduled broadcasts are not taking place. Saying there is tennis on FSN is a little like predicting the weather, apparently. Except don’t expect any sunny days in Indian Wells for this weekend if you live anywhere that cares more about, oh, basketball and hockey? And don’t worry, FSN investors, your money wasn’t wasted. They’re watching live tennis wherever the local viewers want to see it, and there is no real FSN to be angry at anyway, just a collection of little local television stations. If I told you that this was owned by microsoft would it surprise you?

Then I download yet another PDF to see the actual broadcast times in my region. To my dismay, most of the broadcasts in my region (FSN North) are delayed. For instance, the Sunday final is supposed to be shown Monday -- in the middle of the night-- from 2:00 am to 6:00 am. And as for the warning that the local listings are subject to change -- that I have already noticed. According to comcast, the channel is simply opting not to show some of the tennis programming it has submitted for the cable station to list, or the tennis programming comes in late, or leaves early. From what I can determine, FSN is actually a group of essentially separate television stations with very little overlapping programming. Imagine a coalition of local porgramming stations (and hence a “network” in its most divergent sense. This “network” has bought the rights to the Paribas Open, but it is up to each independent station what part (if any) and when (live or delayed) to show it.


The truth: Here is Fox Sport Network’s actual broadcast schedule for the PNP Paribas Open at Indian Wells Tennis Tournament:

foxsports09 tennis schedule

Liebenzeller rosin has been around a long time. In fact, I still have a cake of it from the 1980s, and, when I found out it was going to be discontinued, I bought several more cakes of the gold I and gold II from a local violin shop. From what I understand, it is unlikely that this rosin will be available again, unless it is produced and sold by a different company. Although it may be possible to find Gold II, I do believe that Gold I may be nearly impossible to find. I did a thorough search of shops with an Internet presence both in the United States and abroad, as well as looking on ebay and craigslist, and I couldn’t come up with anything. A couple of stores that still sold it about a year ago (one in Australia and one in England) are now out of stock too.

But not every shop advertises its products on the internet, and I suspect that if you called a few string shops that don’t have a strong internet presence for selling accessories (such as Moenning in Philadelphia, Reuning in Boston, Claire Givens in Minneapolis, or John Waddle in St. Paul) you might find that somebody still has some supply left.

However, many different brands of rosin have come out since Liebenzeller first appeared on the market that are, in my opinion, just as good; and some (such as Andrea Paganinni) have qualities similar to the refined nature of the Liebenzeller. I’d highly recommend looking into these options for fine and light (rather than coarse and dark) rosins that you might like just as much or even better. In my experience, Liebenzeller Gold I has a tendency to apply rather lightly and come off quickly. Because of this, even within a rehearsal or performance, one might feel that the bow already needs more rosin. I hope you are able to locate some of the Gold I, but, in any event, I do think there are a lot of other good options available to you.

It is very important to learn to “hear” intervals. Why? Because intervals are the building blocks of music. The distance between each and every note on the page and the next is called an interval. And each interval has its own unique sound.

Learning to recognize intervals is of critical importance on the violin for any musician looking to develop their relative pitch. It allows the violinist to tune the violin properly (as there is a fifth between each open string that the player must learn to recognize).

Also, it assists in intonation by allowing the player to compare a pitch to an open string or an unfamiliar high note to a familiar note in first position. For instance, a first finger A-natural in first position on the G string forms a perfect fourth with the open D above. Similarly, the E-natural first finger on the D string in first position forms a perfect fourth with the open A string above. Knowing this helps the violinist know exactly where the finger should be placed. Of course, key to this process is that the violin must be in tune with itself.

For some, learning to associate intervals with the first couple of notes of a song they know well can help with learning intervals. For instance, many people can hum “Here comes the Bride” but it can be useful to know that the first two notes form an ascending perfect fourth. A good goal for a violinist is to apply this knowledge to playing with good intonation in every position through comparing notes to open string, or to other notes elsewhere on the instrument.






Songs

minor second (half-step) M2 minor 2nd
Ascending
Jaws
What's New?
Nice Work if you can get it
San Francisco (Left my heart)
I Remember You
I'm Getting Sentimental over You
Bye Bye Black Bird
Stormy Weather
It's Been a Hard Day's Night (Beatles)

Descending
O Little Town of Bethlehem
Joy to the World
The Theme (M. Davis)
Sophisticated Lady
Stella by Starlight
The Lady is a Tramp
Solar (M. Davis)
Shall We Dance (The King and I)
Fur Elise
Hernando's Hideaway

Major Second (whole-step) M2 Major 2nd
Ascending
Happy Birthday
Rudolf the Red Nosed Reindeer
Silent Night
There Will Never be Another You
Tennessee Waltz
My Funny Valentine
Body and Soul
They Say, Ruby
Frere Jacques
Doe, a Deer (Sound of Music)

Descending
Mary had a Little Lamb
Deck the Halls
Away in a Manger
Yesterday (Beatles)
On the Sunny Side of the Street
Freddie Freeloader
Three Blind Mice
Whistle While You Work
Mary Had a Little Lamb
M.A.S.H.
Blue Moon
Satin Doll
Tune Up
My Girl
The First Noel

minor third (m3, minor 3rd)
Ascending
Work Song
Confirmation
Georgia on my Mind
A Foggy Day
Moontrane
The Impossible Dream
Somewhere my Love
O Canada
Oh Where, Oh Where has my Little dog Gone?
Brahm's Lullaby
Greensleeves
So Long, Farewell (Sound of Music)

Descending
Frosty the Snowman
What is This Thing Called Love?
500 Miles High (C. Corea)
Misty
When Irish Eyes are Smiling
Hey Jude
Peter Gunn
You're a Grand Old Flag
This Old Man
Jesus Loves Me
Star Spangled Banner

Major Third (M3, Major 3rd)
Ascending
Oh When the Saints
I Can't Get Started
Kum Ba Yah
While Shepherds Watched
Sweet Hour of Prayer
Well I Come From Alabama
From the Halls of Montezuma
{Big Ben Sounding the Hour?}

Descending
Beethoven's Fifth
Swing Low Sweet Chariot
Good Night Ladies
Summertime
Giant Steps
Come Rain or Come Shine
Bessie's Blues

Perfect Fourth (P4, perfect 4th)
Ascending
Here Comes the Bride
Hark the Herald Angels Sing
Oh Christmas Tree
Doxy
'Round Midnight
Maiden Voyage
We Wish You a Merry Christmas
All the Things
Ornithology
Song for my Father
Love me Tender
Auld Lang Syne
Aura Lee
The British Grenadiers
Amazing Grace
Someday my Prince Will Come
Day is Done (Taps)

Descending
Shave and a Haircut
Oh Come All Ye Faithful
Valse Hot (Not Intro!)
Yardbird Suite
Softly, as in a Morning Sunrise
I Didn't Know What Time it Was
Almighty Fortress is Our God
Baseball Chant
Bizet's "L'Arsienne"
Make New Friends
Bizet's Farandole
Born Free
I've Been Working on the Railroad

Tritone (augmented fourth (4th) diminished fifth (5th)
Ascending
Maria (West Side Story)
The Simpsons

Descending
Blue Seven (Sonny Rollins)
European Siren

Perfect fifth (P5, perfect 5th)
Ascending
Twinkle, Twinkle
Theme from 2001
Whisper Not (Benny Golson)
Theme From Peanuts
Bags Groove
Lavender's Blue
Hey There Georgy Girl
Blackbird (Beatles)

Descending
Feelings
7 Steps to Heaven (M. Davis)
Have You Met Miss Jones?
The Way You Look Tonight
Mozart's Minuet in G
Flintstones
Bring a Torch Jeannette Isabella

minor sixth (m6, minor sixth)
Ascending
Love Story (third and fourth notes)
The Entertainer
Morning of the Carnival
Go Down Moses
The Entertainer (third and fourth notes)

Descending
Nobody Knows the Trouble I've Seen
Love Story Theme
Please Don't Talk About me When I'm Gone
You're Everything (C. Corea)

Major Sixth (M6, major 6th)
Ascending
My Bonnie Lies Over the Ocean
Theme from "The Sting"
NBC
Dashing Through the Snow

Descending
You're a Weaver of Dreams
Nobody Knows the Troubles I've Seen
O-ver There
Gonna Lay Down My Sword and Shield

minor seventh (m7, minor seventh)
Ascending
There's a Place for Us (West Side Story)
Old Star Trek Theme
Have You Driven a Ford?
Somewhere (West Side Story)
I'll Close My Eyes

Descending
Watermelon Man (H. Hancock)
Theme from American in Paris
Little Red's Fantasy (Woody Shaw)

Major Seventh (M7, Major Seventh)
Ascending
Cast Your Fate to the Wind
Ceora
Theme from Fantasy Island
Superman
Bali Hai (South Pacific)

Descending
I Love You
"Hee Haw" From the Grand Canyon Suite

Perfect Octave (P8, Perfect 8th)
Ascending
Somewhere Over the Rainbow
A Christmas Song (Chestnuts Roasting)
Let it Snow!
McDonald's Commercial (?)
Del Sasser
Blue Bossa
Descending
There's No Business Like Show Business (Notes 2-3)
Willow Weep for Me
I Love You (The Other One)

I have tried a lot of microphones in search of the one that best reproduces the natural violin sound.  This is difficult, because most mics distort the sound in some way by spiking certain frequencies and reducing others.  For classical music, the goal is usually to reproduce the sound as accurately as possible. (Especially since attempts to process the sound later are rarely rewarding.)  Since mics with a "flat" frequency response are also the most accurate, these seem to work best for recording classical violin.  

And, for classical music, small diaphragm condenser mics seem to work best because they offer fast transient response, which is also crucial to accurate sound reproduction.  

Several condenser mics seem to stand out from the crowd.

Either of the Neumann KM-140 or KM-184 works well.  










The KM-84, an older version of the KM-184, is also a good mic. It is a little darker than the 184 but is a little noisy.















Another wonderful choice is the Schoeps CMC5 body with an MK4 capsule, which has a very flat frequency response and transparent sound.  The Schoeps seems to have a little less treble than the Neumanns. This is because the Neumanns have a small treble spike and are not quite as flat as the Schoeps in frequency response.











Each Schoeps MK4 costs about $1,700 (and you need a pair!)
Neumann KM-140 costs about $1,300
Neumann KM-184 costs about $1,600


On the less expensive end, AMT (Applied Microphone Technology) recently released condenser studio mics  (AMT 404, set of 2) that have a very flat frequency response and are great for the studio.  They are also much cheaper than competing options (around $240 for the pair!).  I own this pair and am happy.
















Although they are frequently recommended for recording acoustic violin, I have NOT been happy with ribbon mics, such as the Royer R-121.  To my taste, these mics lose a lot of the character of the violin and makes the sound seem one-dimensional.  They cut off a lot of the high-end.  (This may seem good when comparing the Royer to a cheap condenser mic, which can make the violin sound overly bright and harsh.)  Royers really are best for acoustic guitar, electric guitar, and brass.










Another frequently recommended mic, the AKG c451E, sounds very harsh to my ear and has heavy treble emphasis. This mic is really best for percussion and acoustic guitar.













Don't forget that your choice of audio interface is also very important.  If you have a mac, you will need one that supplies phantom power (48 volts to power the mics).  For the mac user, the apogee duet with phantom power is a great option for around $500.  There is really no competition for the duet in that price range.  Because it has only two inputs, the duet is cheaper than other, similar models with multiple inputs that can cost over $2000.




Also, your choice of mic placement and number of mics is important.  Recording in stereo is crucial to the classical sound, and, for the best results, mics are usually placed at least three feet from the violin and often overhead.  One mic might be used to capture the violin more closely, and the other to capture the "room," which can add body and reverb to the sound.  Experimentation is often the best way to find optimal mic placement.

The "room" is also very important.  Small diaphragm condenser mics are very sensitive, and will pick up virtually every sound in the vicinity, even the hum from your refrigerator.  So try to make the room as quiet as you can (even if you have to unplug that refrigerator!).  A big room is usually better than a small one. (small rooms can make the sound seem muddy or poorly defined).  High ceilings are usually good.  Breaking up parallel walls helps minimize echoes and reflections.  Furnished rooms can do the same.  Hardwood floors are very good for the sound.

And if all else fails, there is always the recording studio.....

Why play in a community Orchestra? For adults, community orchestra is a good way to put all that practicing to work by allowing you to participate in a fun, social activity. Minnesota has an absolute plethora of adult community orchestras, many of which have been around a long time and have rich histories and ties to the community. Meet in a fun, supportive environment, perform in concerts attended by the public, participate in rehearsals led by very capable and sometimes phenomenal conductors, and play exciting repetoire. How to choose one among so many? You might try calling a few of the conductors and see if their program is a good match for you.

Twin Cities Orchestras for Adults. (Name, Conductor, and Phone Number, if Available).
Please submit updates to this list using my contact form.

Adult Community Orchestras

Abendmusik, Bill Kempe, 612-457-0476
Allegro Sinfonia, William Stuber 612-707-8144
Bloomington Symphony, Akira Mori
Century College Orchestra, Elliot Wilcox, 651-696-6189
Chapel Strings, William Stuber, 612-707-8144
Minneapolis Civic, Cary John Franklin, 612-332-4842
St. Paul Civic, Ed Forner, 651-696-6189
Colonial Church of Edina, Steve Ramsey, 612-827-0657
Dakota Valley Chamber, Steve Ramsey, 612-827-0657
First Unnitarian Society, Gabriel Diaz-Alatriste, 612-377-6608
Golden Valley. Tom Schneller
Health Sciences Orchestra, Jim Riccardo, 651-722-8474
Imp Ork, no conductor
Inver Grove Heights
JCC (St. Paul) Joseph Schlefke, 651-698-0751
Kenwood, Jeff Stirling 651-850-5207
Linden Hills, Jeff Stirling, 651-850-5207
Metropolitan Civic, William Schrickel, 612-871-7605
Minnesota Philharmonic
Minnetonak Civic, Jon
Minnetonak Symphony, Roger Hoel, 952-935-4615
Mississipi Valley, Ed Shlueter, 651-722-7867
Northeast Chamber (Fridley), Jeff Stirling, 651-850-5207
Roseville String Ensemble, Jim Haines, 651-633-0453
St. Anthony, Carol Jensen, 612-788-3516
St. Croix Valley
St. Marks, John Nygaard, 651-688-0250
Southeast Chamber Ensemble
3 M Club, Elizabeth Barnes, 612-699-5375
The Cities Orchestra, Larry Reynolds
Woodbury Orchestra, Garret Lamain, 612-890-6608

The following string identification chart is for viola players! Now you too can iID those loose strings!

Viola String Identifier

List of Strings Identified in the following chart (in soft, medium and strong):
Corelli Alliance
Corelli Crystal
Kaplan Golden Spiral Solo
D’Addario Helicore
D’Addario Pro-Arte
D’Addario Zyex
Pirastro Aricore
Pirastro Chorda
Pirastro Chromcor
Pirastro Chromcor Plus
Pirastro Eudoxa
Pirastro Eudoxa-Oliv
Pirastro Eudoxa-Aricore
Evah Pirazzi
Pirastro Flexicor
Pirastro Gold
Pirastro Obliato
Pirastro Oliv
Pirastro Piranito
Pirastro Permanent
Pirastro Synoxa
Pirastro Tonica
Prim
Prim Synthetic Core
Thomastik Dominant
Thomastik Precision
Thomastik Spiracore
Thomastik Superflexible
Jargar
Jargar Silver Sound
Larsen

First, what is rosin, and how does it work?
Rosin is a resin collected from one of about a hundred different types of pine tree throughout Europe, Asia, North America, and New Zealand. Rosin comes from from living trees by tapping -- just like maple syrup. After the resin is collected, it is sometimes mixed with other tree saps from different species of trees to create a unique formula. This formula is then purified by straining and heating it in large vats until the resins are completely melted. Once cooked, the concoction is poured into molds. After the mixture sets, the rosin is polished and placed in cloth or another type of housing. The color of rosin is determined by when in the year it is collected. If the resin is tapped in late winter or early spring, it will be gold or amber in color and hard when set up. As the seasons change to summer and fall, the color of the resin darkens and the consistency softens. Rosin works by keeping the bow hair stuck to the string. The bow pulls the string in the direction of the bow motion until the adhesion breaks. Then, the string snaps to its original position and vibrates, to create sound.

So, Rosin. So many brands to choose from. But how do we evaluate which one sounds the best? This is a very difficult question to answer, because players have different preferences for how their rosin functions, and what sound or feel they are looking to derive from it. But one thing is very clear: cheap rosin (usually in the rectangular shape inside a wood housing and costing a couple of dollars) is NOT a good choice for any player, except for perhaps a beginner. Why? Because this rosin tends to stick to the strings like glue and feel and sound grainy.But one thing is very clear: cheap rosin (usually in the rectangular shape inside a wood housing and costing a couple of dollars) is NOT a good choice for any player, except for perhaps a beginner. Why? Because this rosin tends to stick to the strings like glue and feel and sound grainy.

For some reason, most of the finer rosin is circular and often encased in cloth. When it is darker, it tends to be stickier. When lighter, it tends to glide more over the instrument. If you are a player who likes to “dig in,” or you have a violin that responds well to pressure, a dark rosin may be your choice. You might even opt for cello rosine (such as the Hidersine), for its extra grab.

For those of you who like the feel of a lighter, smoother rosin (or you tend to under-rosin your bow to avoid the feel of excessive grain, grit, or stick, a lighter rosin might be your choice. Often, some of the finest rosin brands will offer different formulations to suit the tastes of both those who prefer a darker rosin and those who tend to opt for the lighter versions.

Below is a list of rosins and descriptions. Although you may find this list helpful, experimentation and trying different brands is the best way to choose your preferred rosin.
One top choice of the pros is Andrea Rosin (formerly Tartini Rosin). This Rosin is relatively expensive (around $30.00) and comes in several varieties from the lightest version (termed “Paganinni”) to the darkest, which is designed for cello but often used by violinists searching for that rich, dark sound.



Pirastro (of string-making fame) sells a large line of rosins, largely named after its string brand. There is Pirastro Gold, tonica, Eudoxa, and Oliv, among others. How much difference there is between these is questionable but they are an affordable alternative to “the block” cheap rosiin at around $10.00

Jade Rosin is another popular and reasonably-priced option that seems to work well for a wide variety of bows and players. It is considered to produce a smooth yet firm grip.
Liebenzeller rosin is a particular favorite of mine. In fact, I have carried this rosin around for almost 20 years. Unfortunately, it is temporarily discontinued, but if you can find yourself this rosin, you will find that it comes infused with various metals from gold to nickel to copper, that lend the rosin different characteristics and grips.

In the end, most of the rosins priced above $8.00 or so are reasonable choices, and the biggest factor as to which one you prefer is whether you want more grip and grit (softer, darker rosin) or a lighter and smoother feel (lighter, harder, rosin). You might even be surprised at which option you prefer in the end -- after all, your particular bow and violin may have preferences of their own!

Violin and Bow Making is very much alive in America today. We even have some of the nation’s top luthiers in our own backyard. Below are some of the greats still making violins and bows (even as I write!) whose instruments and bows I have had the privilege to play.


Jennifer Becker, violin maker, is the daughter of Carl Becker (of Carl Becker and Son, Chicago, established in 1901), whose violins and cellos are considered some of the best modern instruments available. Here she is pictured with her father in 1992. Jennifer is currently making custom instruments she says are designed to fit the tone preferences of her customers. These instruments take her two years to complete (at a minimum!) They are typically made in the summer and varnished over the next year and a half. The Beckers believe the secret is in their varnish, which allows the instrument to vibrate freely. This varnish has a characteristic reddish color and the violins are not marked to give the appearance of age. I have had the opportunity to play several of Jennifer’s instruments. I have found these instruments to be warm but brilliant, with an easy response and a full-bodied tone. That “plastic” sound I sometimes detect in other modern violins was completely absent. Jennifer Becker is definitely a first-class maker if you are interested in a modern American violin. She lives and works in Lakeville, Minnesota and can be reached at 612-508-5739. These violins are sold at around $28,000.


Roger Zabinski, bow maker, is a favorite of Minneapolis area professional violinists and in fact I have been lucky enough to try three of his violin bows and one of his viola bows. These bows play and look beautiful, and Roger Zabinski is truly such an expert at his craft that he can make to order a bow that will have the playing characteristics desired by the purchaser. His bows go for between $2,500 to $5,000, depending on the fittings. Although Pernambuco wood is in short supply (you may notice many of the modern “pernambuco” bows sold today have become quite thick due to a shortage of higher quality wood), Zabinski’s wood is still of the highest quality and I have seen a recent flamed wood bow with an ivory frog and gold fittings recently commissioned by a colleague that was just stunning. His wood tends to have a slightly reddish appearance and is fairly light in color.


Luis B. Bellini, violin maker, Jackson Heights, New York. I remember trying my first Bellini in his shop when I was fourteen and searching for my first full sized violin. These instruments have a beautiful and painstakingly aged appearance. The sound is typically powerful and a little edgy with almost a soloistic character. Bellini’s violins are almost always reproductions of the old masters, whose work he has devoted his life to studying and reproducing. These violins are priced around $25,000.


Tetsuo Matsuda, Violin Maker, was born in Japan and currently makes violins in Illinois. He has several models, of which the Guarneri is my favorite for its wonderful projection, evenness, and responsiveness. Like the violins of the old masters, the Guarneri Matsuda I tried was capable of a wide range of tonal colors from warm and sweet to edgy. The instruments are priced at around $20,000.
However, I should add that some Matsuda owners have complained that over time, their instruments have grown increasingly bright almost to the point of harshness. I have heard that the reason for this may be that the varnish applied initially is designed to make the violin sound brilliant and open from day one, but that as this varnish gradually dries over time, the instrument loses its initial beauty of tone.

Although most violins will toil in anonymity, some violins and some violin and, indeed, the entire body of work of some great luthiers, have been passed down through the generations as examples of the greatest the craft has to offer.
With names like Amati, Guarnerius, Stradivarious, and Guadignini, it is clear that the Italians rule the roost.

Violins are notoriously difficult to photograph, but hopefully these will give you an idea of the appearance of some of the greatest violins ever made.
Joseph Guarnerius del Gesu, Cremona, Italy (1626-1698)



Antonius Stradivarius, Cremona, Italy, (1644-1737)




Nicolo Amati, Cremona, Italy (1596-1684)

Violins may often look the same. But like a human voice, each sounds different. And some sound better than others! Your choice of which violin to rent, even the small sizes, can greatly impact both a student’s progress and enjoyment of the instrument. A good instrument has a clear sound, easy responsiveness, and minimal squeaking. A poor violin can sound scratchy, feel unresponsive, and be so difficult to play, it is virtually impossible to produce a tolerable sound, let alone a good one. Certainly, the larger the instrument the better then tone. But even the smallest sizes can sound pretty good, but may be hard to find.

Although there are several general music stores that carry excellent violin rentals, the best place to rent a violin is from a dedicated violin shop. These shops have expertise in choosing fine student violins that sound excellent and are kept in good condition and repair, with high quality fittings and strings.

Note: I do not receive any teacher kickbacks or compensation for recommeding these shops. They are not paying me for any kind of advertising. What I do gain are relationships with honest and knowledgeable shops that treat their customers well and are able to provide both me and my students the best equipment and service that our area has to offer.
____________________________________________________________________________________________________________________________
House of Note

7210 Minnetonka Blvd, St Louis Park, MN 55426
contact: Sheila Graves
(952) 929-0026


____________________________________________________________________________________________________________________________

Oh no, a loose string collection! I have to admit I have one too. I’ve included several means of identifying your strings (pictures and charts) that include some of the most common strings. Hopefully, this string identification information will be of some help to you.

How wonderful! Your best preparation for music school/ conservatory is to hire yourself a top-notch teacher who has a history of helping students gain access to conservatories.

In addition, during your pre-college years, try to take part in our community's terrific array of opportunities, such as MYS and GTCYS, and paticipate in competitions such as Schubert Club, Thursday Musical, and YPSCA. Attending summer music camps such as Madeline Island Music Camp, Tanglewood, or Interlochen is both a lot of fun and a great way to meet other musicians from around the world.

Although you may start with the Suzuki books, your pre-college musical education should take you through the full tour of materials for auditions, technique, and musical development, from such great works as the Mendelssohn, Brahms, and Tchaikovsky violin concertos to invaluable technical exercises for development of dexterity and tone.

Perhaps most importantly, devote time, practice, and activity towards pursuing violin at the highest level. Take private lessons, go to concerts, listen to recordings, play chamber music, and, then, find your own unique voice. And perform perform perform! Learning to perform is vital; while you may initially exprience "stage fright," the best way to overcome this is to put yourself out there as often as possible.

Performing solo with orchestra is especially rewarding, and you might consider playing a concerto with a local community orchestra or your high school orchestra. The local youth symphonies also have solo competitions. If your teacher offers recitals, make sure you play in them. Volunteering your time performing in nursing homes can be very rewarding -- they really love to hear you play!

Conservatories usually require auditions. Sometimes these are in person, and other times you may send a tape. There are schools that make the rounds to major cities for auditions, but for other schools you may have to travel. In planning for your audition, make sure you have at least two pieces in contrasting styles, such as two selections from the romantic and Baroque eras, or choose contrasting tempos such as adagio and allegro. Make sure you know your major and minor scales in three octaves and can play in every key. Many schools list audition "requirements" but you are also sometimes given a blank slate. In this case, I suggest going with the music that you think shows you at your best, rather than choosing difficult material aimed at impressing your listeners.

Also, be prepared to offer a recording of yourself, preferably analogue and "no-dolby / unedited," of audition selections. Try to have the recording made in a studio (such as Studio "M" at MPR), or use high quality equipment.

In addition -- find yourself a professional level piano accompanist. He or she is an absolute necessity for auditions and competitions. You may want to work with a few before settling on one that you use repeatedly. I keep a list of trusted, experienced accompanists for my students.

You might also want to consider schools such as Oberlin or Yale, which offer academic programs that confer double degrees such as the BA/BM or BA/MM. This pursuit ensures that, should you choose a path other than a career in music, you also have the college experience to back up your candidacy for opportunities in other fields. Yale was my choice, from which I earned both a B.A. in music theory and history as well as an M.M. in violin performance.

Choosing the correct size violin is essential. The best person to assess fit is your violin teacher or an expert at a dedicated violin shop.

The picture below shows how the violin increases in size, from the smallest (1/16th) to the largest (4/4, or full size).




A good way to estimate the correct size violin for your son is to measure the length of his arm from the neck to the middle of his palm with the left arm extended. Then, you may follow the violin sizing guide pictured below.




Another way to assess fit is to have him extend his left arm and grasp the scroll of the instrument. Usually, if a student can comfortably grasp the scroll, as pirctured above, then the violin should be the right size.



Students usually stay in each size for a year or two. Because children grow so quickly and unpredictably, it is important to reasses fit frequently. Using a violin that is too small will cramp both the left hand and the bow arm. However, a violin that is too large can cause strain and injury to muscles and joints as the student is forced to extend the reach of the left hand beyond its appropriate limit.

At 9 years old, your son may need a 3/4 size instrument. However, depending on his height and the length of his arms, the appropriate size for him will likely range from 1/2 size to full size.

I like to tell students that "the violin is an acoustically perfect instrument." What this means is that a full size violin, at 14'' in length, is ideally configured to offer maximal projection and body of tone. Unfortunately, any violin either smaller than or larger than a full size instrument is not acoustically perfect. In general, the smaller the violin, the smaller the sound. This puts the young beginner at an immediate disadvantage: no matter how well he plays the violin, his 1/2 size fiddle will never sound as good as a full size instrument of similar quality. However, the closer in size he gets to the full size, the better his instrument should sound.

But not all small violins are built alike!! You can give your son a better experience by renting or purchasing a high quality small instrument. While it may never sound as good as a full size of comparable quality, it can certainly sound better than the small instruments played by many of his peers.

The key is to rent or purchase the instrument from a reputable shop that carries hand-carved small instruments. In the last few years, affordable hand-carved instruments have become available in violin shops across the United States. Thus, factory-made violins, along with their inferior sound, should be relegated to the past.

Finally, once you know what size he needs, your son should several different instruments before making a final decision. A shop may offer several violins of the same size and "model." But even these are not identical! Every instrument sounds different. Not even two instruments by the same maker sound alike. As a teacher, I like to assist in selecting an instrument, or at least give a final thumbs up before a student rents or (especiially) buys an instrument.

Choosing a good violin bow is quite a challenge. For one thing, a bow that is perfect for one violin may be a poor choice for another. The technique and style of each player will also affect whether a violin and bow are well matched. Thus, you might think a given violin and bow are perfect for each other, but I might try the same combination and think it doesn't sound good at all.

It is not a surprise that you are not satisfied with the bow that came with your violin. Most of these are made of fiberglass and are worth as little as $25. A fiberglass bow is a very poor substitute for wood. These bows are very weak and will collapse at the middle with very little pressure. The hair is sparse and of low quality. These bows are sometimes on the heavy side, and can have a club-like feel and appearance. It is very limting to have a fiberglass bow, and a very large upgrade is possible by spending around $100-$150, as I will discuss a little later.

Below are two bows. The red bow on the left is a fiberglass bow made by Glasser. The bow on the right is a fine 19th century French Bow (by Dominique Peccatte).





As you can see, the red Glasser bow has a thicker, heavier (plastic) frog. By pulling the hair further from the stick, this design helps prevent the bow from collapsing completely with the slightest pressure. However, a bow with this design is very difficult to control and cannot produce a clean sound, particularly during rapid passages that require agility and a slightly off the string bowing technique. I would go as far to say that you might as well be playing tennis with a frying pan!

The finest bows in the world are made of wood. Specifically, pernambuco wood. This wood is quite rare and expensive, as it is taken from the center of the tree. Brazilwood bows come from the same tree, but are not the center cut.

A little about bow prices:

19th and early 20th century French bows made of pernambuco wood are considered the most valuable, and it is possible to spend over $100,000 for the finest examples. It is quite common for professional musicians to spend between $10,000 and $30,000 to obtain a fine French bow. Some of the most famous French bowmakers: Eugene Sartory (who made strong, powerful sticks favored by many soloists for their ability to produce a large sound that carries well), Francois Tourte (possibly the inventor of the "modern" bow, also favored by soloists for its incredible sweetness and smoothness.) and Dominique Peccatte, another maker of choice for soloists, known for its exception balance and richness of sound. The Sartory might go for $20,000, and the Tourte and Peccatte upwards of $50,000!

Besides the French School, there are two other schools with a rich history of bow making. The first is the English School, from which bows made by Tubbs and those stamped "W.E. Hill" are the most well-known. Fine English bows usually sell for around $5,000 to $15,000. The second is the German School, which is significantly less favored than the other two. Bows by this country's most famous family of bowmakers, bearing the name of Nurnberger, are "comparatively cheap." But even a Nurnberger will probably cost you at least $2,000.


There are also several contemporary American bowmakers who are doing excellent work. One of these is Roger Zabinski, a luthier who lives and works in Minnesota. It is possible to commission from him a new bow designed to meet your needs, or to match your violin. But you should expect these also to be priced somewhere in the range of $2,000 to $4,000.

But wait! You only have $500 to spend! So let's examine your options.

1) Fiberglass. Fiberglass is out. Don't even think about it.

2) Brazilwood. Although you probably would need to spend over $1,000 for a genuine pernambuco bow, you will find many Brazilwood bows priced at or below $500 and as low as $50.00. The quality of these bows is very hit and miss. Even if they bear the same stamp, each is unique. If you want to go with a Brazilwood bow, consider trying a lot of them. By a lot, I mean at least a dozen. Consider taking a couple home so you can spend more time with them. It might be good to go to a couple different shops. Brazilwood bows are a dime a dozen, so hold out for one that you really think is special. Remember that wood bows can be quite fragile. If you tend to be hard on your equipment you might want to consider a different material. Expect to spend at least $100.00 for one that will perform quite well.

3) Carbon Fiber. The original manufacturer of the carbon fiber bow is CodaBow. CodaBow offers many different bows at many different price levels, (starting around $250.00, and makes claims about how each model handles in comparison to the others. But each coda bow, no matter the model, is unique. Why? The answer is wood. Namely, the ebony wood frog. Since each peice of ebony differs in density, coda bows actually do vary both in weight and in the location of the balance point. The best bows usually come in at around 60 grams. But I have seen coda bows that weigh as little as 55 grams and as much as 65 grams. And some of the cheaper models actually sound better than the more expensive ones. Be prepared to try several different models and ask to compare different bows of the same model as well. At the very least, CodaBows should be more consistent than wood bows. And they certainly are sturdier. Below is CodaBow's new flagship model, the "weaved" Diamond. I have seen Diamond models on the Internet for a little over $500.00. Remember, however, that their cheapest offering, the Aspire, might sound just as good or even better! And there is a relatively new carbon fiber bow on the market made by Glasser (yes, our fiberglass friend!), called a "braided" carbon fiber bow, that is very well priced (around $325), and designed to compete with CodaBow's Diamond.

A recent question posted on my site came from the mother of an eight-year-old beginner:

"My son's school orchestra director says that private lessons are unnecessary, because students can learn everything they need at school. So why does my son need private violin lessons?"

I used to be surprised by this question, the first dozen or so times I heard it. For centuries, violin skills have been passed from generation to generation through individual instruction by private violin teachers. Across the United States, there is a long history of collaboration between orchestra programs and private violin teachers. Many schools (such as Wayzata and Edina) continue to recommend private violin teachers and distribute lists of good private violin teachers to their students. The result is better training for students and a better sounding orchestra for the schools.

Today, more and more schools are cutting back and even eliminating orchestra programs. Yet, these same schools are now claiming that their students do not require private lessons!

The reality is that most good private violin teachers share these two qualities:

1. Years --even decades-- of intense study of violin technique and performance.

2. Years --even decades-- of experience teaching the violin to students.

A good private violin teacher is probably not qualified to teach your child to play the tuba, or even the cello. But she knows how to play and teach the violin.

When you entrust your child to the school orchestra program, who teaches your child to play the violin?

The "orchestra director," of course! But who is this person? Can she play the violin at a reasonably high level? (Or at all?) What experience or training does she have exclusively on the violin? Even if she is a concert violinist, how much time can she devote to your child? And why does it matter? Can't a parent rely on the schools to do a good job teaching the violin, just like they do with math and reading?

The answer is, unfortunately, no. I cannot count the number of students who have had their instruction solely in the school system and have developed bad habits. "Bad habits" inevitably mean that the student cannot produce a good sound. And, without instruction in proper technique, he or she may already play with so much tension that it actually hurts to play.

Children learn very quickly. However, once they establish habits --good or bad-- they often experience frustration if these need to be modified later. (Don't we all!) If you wait until she shows sufficient interest or talent to start private violin lessons, or you entrust his violin instruction solely to the schools, you may well set your child up for failure. Please consider starting your child off on the right foot with private violin lessons taught by a good private violin teacher-- from day one!

Wow! You must really practice a lot!

There are many different kinds of chinrests. Most fit into two categories: chinrests that extend over the tailpiece and mount under the button, and chinrests that mount on the side.



And these come in many different shapes, sizes and materials, and have names such as Guarneri, Strad, Hill, Flesch, Dresden, Wittner, and Tekka.



With possibly one exception I will describe below, I do not "prefer" any one of these over the others because no two people are built exactly alike, and a chin rest that is comfortable for one student may not be a good fit for another. If your worn out chin rest was comfortable, I suggest replacing it with an identical model. Otherwise, you might want to head to a violin shop and try a few of them. Look for a violin shop that carries several different models and will allow you to try them. Your teacher should also be able to help evaluate fit.

Now, as promised, I will discuss the one chin rest that, for some players, I do recommend over the others. It is called the Gel Rest. The gel rest actually comes in several shapes, but its distinguishing feature is that it has a cushion made of a non-irritating hypoallergenic gel that fits over the wood in the rest. The company that makes the gel rest also supplies the gel toppers separately, and can make a double layered version for taller necks. The potential advantages of the gel rest are several. First, the cushioning of the gel reduces irritation to the skin from the chin rest. Second, it won't slip in hot conditions where sweating is an issue. Third, it helps the neck support the violin through friction between the neck and the gel. Finally, the cushion is more forgiving against the neck and often feels more comfortable to the player.

Below are some pictures of the gel and the various chin rest shapes:

Many of us have quite a large "string collection" in our cases or stashed away for safe keeping. We have used strings, new strings (both inside and outside of packaging), and perhaps even damaged strings, saved for that special emergency when we have broken a string and don't have anything else to replace it with. But once a string is out of it's packaging and becomes an "unidentified" string, it can be very difficult to figure out what type of string it is, let alone whether it is an A, D, E, or G string.

Every string manufacturer individually labels its strings at both the peg and the ball/loop end. These labels take the form of colors on the windings, sometimes solid, sometimes stripes. Sometimes the colors are the same at each end, and sometimes they are different. For each manufacturer, each string set usually bears its own, unique color scheme where every string within the set has a different combination of colors. To further complicate matters, sometimes even the different tension strings within string sets have their own color scheme as well. As you can imagine, there are quite a few combinations!

Although there are string identification tables available on the internet, these are often difficult to use and sometimes even misleading. But because they can be useful when you at least know the brand and name of the set (for instance you are certain that you have a pirastro Obligato set but you are unsure which string is which), you might be able to use a string identifier to save yourself a trip to the shop.

After all, string identification charts depend on our ability to define color, which is not always consistent from person to person. For instance you have concluded that your unidentified string has a blue peg end and a yellow ball end. But are you sure that it isn't blue and yellow, or blue and gold, or light blue and yellow, or light blue and gold? (rest assured all of these possiblities do exist!)

It is usually the case that thinner strings are higher in pitch and thicker strings are lower in pitch. The thicker string allows less tension and thus a lower pitch for the same string length. However -- and this is a BIG however -- since strings use different metals as windings as well as different cores, (not only between string sets but also within them), it is sometimes the case that the D string is THICKER than the G string! A "wound" E string might appear larger than an A string. A high tension A string from one string set might appear thicker than a light tension string from another set.

Thus, (and especially if you mix string from different set) you cannot always determine what type of string you have based solely on it's thickness.

So why does all of this matter? What is wrng with putting on the wrong string?

Suppose our questioner were to put a G string on his D string peg. Since it was thicker, he was convinced that the D string must in fact be a G string. But a G string is not built to be tuned all the way up to the D a fifth above. The extra tension this would cause on the instrument and bridge could be enormous -- enough not only to cause the bridge to collapse and possibly break, but also to cause a crack in the top of the fiddle, most likely over the sound post. This crack, called a soundpost crack, is very bad both for the sound of your violin and also for it's value.

Therefore, I highly recommend against putting any unidentified strings on your violin or viola. And, even if you think you are able to identify them, using a chart or internet tool, there are, in my opinion, too many different strings that look very similar for you to ever be certain you have made a correct identification.

For unidentified strings, prevention is probably the best cure. Consider keeping each new string securely in its labeled packet prior to installing it. If you keep the packaging, you can put your used strings back in their properly labeled packaging should you wish to keep them. If you lose the packaging, consider tying a label to the string before it is stored that fully identifies the string.

To the questioner: I would suggest that you take your strings and his violin to a good violin shop, where they should be able to indentify your strings and help you to install them, if necessary.

A few other remarks on installing strings: It is best to install the strings one at a time. If you are replacing an entire set, it is a good idea to examine the bridge before and after installing each string to make sure it is still straight. It is important to take care not to tune any of the strings above their proper pitch in order to stretch them. Most strings go through a breaking-in period where they will need to be retuned frequently. Attempting to stretch the string puts added tension on your instrument that could potentially damage it.