Manhasset FourScore Folder (Model 1650) Product Review: A Must-Have Accessory

Manhasset FourScore Folder (Model 1650) Closed

Introduction: Over the past 75+ years, Manhasset has become synonymous with big, sturdy, black music stands that last a lifetime.  The one I used as a child currently graces my teaching studio.  Day after day, it supports the weight of several thick music books without a hitch.

Manhasset Fourscore Stand

Standard-width music stands are perfect for displaying two and up to three pages of music at once.  But viewing four pages generally requires an extended-width stand.  In the past, when I have needed to display four pages at once, I have used Manhasset's Fourscore Stand (pictured right), which features a solid one-piece desk. The FourScore stand is a very handy stand -- especially if it does not need to be moved or transported frequently.  However, I have always wanted a light and transportable four-page option that I could use for gigs and performances.

Enter the subject of this review, the Manhasset Model 1650 FourScore Folder, the perfect portable four-page solution for the working musician.

Manhasset FourScore Inside View

Features:  The FourScore Folder extends the width of any music stand to 34 inches, which is wide enough for four pages of music to be viewed at once with no overlap.  It unfolds in two directions -- vertically, to provide width, and horizontally at the bottom, to provide a lip.  For storage or transport, it folds neatly to 1/3 of its full width.  An elastic security band wraps around the back of the music stand, which secures the folder in place.

As shown in the picture at left, the Fourscore also has three clear vinyl panels on the inside that can be used to keep single pages secure indoors or out, along with a sturdy, wide lip that runs the length of the folder.  The outside features a small vinyl pocket for identification.

FourScore Folder Piled High

Fit and Finish: Constructed from heat-sealed class 100 vinyl with 80 pt. chipboard core, the FourScore Folder feels sturdy, secure, and well-made.  It has a professional feel and look, inside and out.  To assess the folder's strength and durability, we loaded the full width of the folder with heavy music books along with a full ream of copy paper on one side, to test for tipping or balance problems due to uneven weight distribution. Initially, the folder withstood the load without any tipping or shifting.  But how would it fare after supporting such a heavy load for five days straight?  For the FourScore Folder, it was no problem at all.  Five days later, everything was still in place.

Ease of Use:  Setting up this folder is as simple as opening the trifold and moving the elastic strip from the inside to the outside so that it can fit over the desk of the stand.  There is no other assembly required, and is very easy to use -- setup takes just a few seconds.  Removing the folder from the stand and closing it back up is equally simple and quick (as long as you remember to unfold the lip).

Pricing:  The FourScore Folder is available online and priced at around $10-$15 from several major retailers including Amazon.com, The Woodwind and Brasswind, and J.W. Pepper.

Conclusion:  The Manhasset FourScore Folder (Model 1650) is, simply put, a must-have accessory for the working musician who needs a portable extended-width stand.  From allowing two players to read off the same stand, to setting up four pages of music without any page-turns for a gig or performance, to keeping loose sheets of music secure, this folder is an elegant and functional portable solution and we give it our Simply Violin Stamp of Approval. 

Review: Snark SN-2 Chromatic Clip-On Tuner

These little device aren't miniature robots -- they won't pack your lunch or clean your house. However, the Snark SN-2 Chromatic Clip-On Tuner may help you learn to play with improved intonation on the violin, and at a very attractive price. Available in blue and red, it clips to the scroll, and, using a fresh, readable interface, lets you know if you are sharp or flat by use of a dial that looks a little like a speedometer. By the way, if you are a violinist, buy the red one (SN-2), not the blue one (SN-1) -- more on that later.

Features: This little tuner has a convenient swivel mount that allows you to clip it to your scroll and adjust the angle. It has pitch calibration, and a very bright digital readout that can be seen even in bright sunlight. It also comes with a (silent) metronome, with a tap tempo entry function. Snark Red has an extended frequency range and a mic/vib switch that allows it to be used either as a clip-on unit or as a free-standing tuner. Snark Blue, on the other hand, is equipped for vibration tuning only and, with its more limited frequency range, is intended for guitar and bass. Therefore, violinists should purchase the slightly more expensive red unit (SN-2). The Snark runs on small lithium button battery.

Accuracy: The unit was very accurate in both clip-on (vibration) mode and when used with its internal mic. For me, response time is actually more important in modern tuners than accuracy, as, given enough time to assess a note, most tuners on the market are reasonably accurate. This tuner's response time was extremely quick, allowing me to play through passages at a reasonable tempo rather than having to wait seconds for the tuner to register a change in pitch.

Fit and Finish: Made of sturdy plastic and extremely light, this unit survived a couple of test drops onto a hard surface without a scratch. In addition, its contact points with the violin are secure yet gentle, and I did not worry that the finish would be scratched.

Usability: Because the Snark uses an LED display (rather than LCD, like most other tuners) it has an extremely bright, unusually readable display. This is a very nice feature, terrific for outdoors, bright lights, and tired eyes. Another great function is the "hold," where the tuner dial stays stable once it detects a stable pitch. The switches are large and easy to use. It's transpose feature is nice, but is geared toward guitar players playing with a capo (which changes the guitar's tuning). It is clear to me that the makers of the unit had the "working musician" in mind when they designed this unit.

Summary: At amazon, this little tuner is only about $10, which is an outstanding price for a tuner of this quality. A handful of unique features (swivel mount, LED display, very quick response time, and great "hold" make it an attractive buy. Its modern, colorful look that reminded me a bit of Wall-ee the robot, is attractive to young students, who tend to lose patience with other tuners. I wish the metronome wasn't silent -- but rumor has it that the company is soon to release a new model with an audible metronome. However, it often takes a rather large metronome with a big speaker to be audible to a violinist, whose ear is positioned directly over the instrument. Thus, I usually recommend that students purchase a separate metronome rather than expecting their tuner to serve both purposes.

A Review of Magic Rosin: The Wow Factor

Rosin is one of those must-have items for violin. And there are quite a few brands on the market, all with different playing characteristics. I was recently given samples of a brand new variety called Magic Rosin (love the name!), which comes in two varieties. Magic Rosin 1 is designed for violin, and magic rosin 2, which is stickier, is geared toward the lower stringed instruments. Magic Rosin retails for $6.00 per cake.

Two of my upcoming new books feature fiddle tunes, and, with my current (and pricey) rosin, darker Chinese violin, and a bow that could benefit from a rehair soon, I wasn't getting very good grip and was experiencing sliding. I'd tried several rosins, including cello rosin, to try improve sound and grip, but to no avail.

So, finally, I reached for my new sample of Magic Rosin 2, hoping that it would live up to its name! What struck me first was the beautiful art label and durable, compact plastic case. I applied a few strokes and sat down to read through the arrangements. And then came the "wow" -- which is frankly not a word I would usually associate with any rosin. But this rosin was a game changer. My bow came alive in my hands, and it traveled easily across the strings with minimal dust and maximal, rich sound. And it was a clean, clear sound, without grit or bow noise in my ear. The double stops felt easier than usual to play. Most impressively, I no longer felt I needed a rehair. I was impressed: the Magic Rosin really made a difference. It lived up to its moniker: a special rosin at a special price.

Next, I decided to try Magic Rosin 1 on a recently rehaired French bow matched with a sweet, old Italian violin -- perhaps the ideal classical setup, to see how this rosin would perform for the professional classical musician. Again, I was impressed with the clean, clear sound achieved with such little effort. Increased volume was another benefit that I enjoyed.

I must say that the price is another great feature of this rosin. So many of the "fancy" rosins on the market can be quite expensive. For instance, Liebenzeller rosin (back now under a new name, Larica) costs over $30, as does Andrea Rosin. In fact, it is pretty difficult to spend under $10 for a professional grade brand. Yet, the $6.00 cake of Magic Rosin outperformed all the rosins I have tried in recent memory. For one who likes to try out products and has used many of the top selling brands of rosin (Andrea, Bernadel, several Pirastro offerings, Liebenzeller/Larica, Hill, Jade, Melos, and others), I feel that Magic Rosin is a wonderful find, and one I can recommend to students and professionals alike. In particular, I think that Magic Rosin 2 will be appreciated by fiddlers (and those with bow hair at the end of its life), and that Magic Rosin 1 would be a great choice for the classical violinist.

Who are your favorite violinists and What pieces do you like best?

Update 01/28/2011: View the Updated Version of this Post

Here are some of my favorite violinists playing some of my favorite pieces, captured on video. (and, by the way, all of these pieces are part of the standard repertoire of violin music, and are ideal for auditions and competitions). You will notice that most of the left hands look very similar (except for some variation in thumb position). Everybody plays on his or her fingertips!

Jascha Heifetz uses a rather exaggerated "Russian" bowgrip. The bow hold that I teach is called franco-belgian/Galamian and is used by most contemporary soloists such as Itzakh Perlman, Sarah Chang, Anne-Sophie Mutter, and Hilary Hahn. The more modern bow hold permits more pressure on the string and thus more volume to the sound, and relies more on arm weight rather than bow speed. It is also easier to play at the frog with the Galamian hold.

Enjoy the tour!


1. JASCHA HEIFETZ

Jascha Heifetz (My teacher's teacher!) Note that Heifetz uses the "Russian School" bowhold.

Heifetz plays Saint-Saenz Rondo and Capriccioso (watch his left hand position!)

Heifetz Plays Sibelius Violin Concerto (no video, but one of my favorite recordings of all time)


2. ITZAKH PERLMAN


Perlman has an incredible sound. Even his fast notes sound warm and well cared for.

Young Perlman plays Wieniawsky Violin Concerto

Perlman plays Beethoven Violin Concerto


3. DAVID OISTRAKH

David Oistrakh. Oistrakh has an amzingly warm tone and such beautiful phrasing.

Oistrakh Plays Brahms Violin Concerto

Oistrakh Plays Tchaikovsky Violin Concerto


4. SARAH CHANG


Chang is a modern player with a more modern technique and bow grip.

Sarah Chang Plays Mendelssohn Violin Concerto


5. ANNE-SOPHIE MUTTER



Anne-Sophie Mutter. Mutter is a modern day player with with more modern technique and bow grip.

Mutter Plays Mozart Violin Concerto No 5 3rd movement


6. ISAAC STERN


Stern's bow hold exemplifies the galamian/franco-belgian technique that I teach.

His earlier recordings are probably his best, and he has a warm and gentle sound.

Stern Plays Brahms Violin Sonata in G Major


7. HILARY HAHN



Hilary Hahn. Hahn is one of the leading voices of a new generation of

players. Her technique is very modern and she has a beautiful, silky sound.

Hilary Hahn Plays Prokofiev Violin Concerto


8. ERICK FRIEDMAN



Student of Heifetz and my teacher at Yale School of Music

Erick Friedman plays Fritz Kreisler, Preludium and Allegro

Bach Double (Duet with Jascha Heifetz) during Meifetz masterclass

How to Rosin Your Violin Bow

Rosin is the reason that we are able to produce sound on the violin, creating friction that allows the bow to grip the strings. Without rosin, the bow will glide over the stings as if sliding on ice. This article provides a guide for how to apply rosin depending on whether the bow isn't gripping the strings at all, has just been re-haired, has areas that do not play evenly, or, is currently playing to your liking.

If the bow has just been re-haired, it may have been rosined by the shop before it was returned to you (using either a cake or rosin powder), or it may not have any rosin on it at all. If the bow is not playing at all when it is returned to you, you will want to use short targeted strokes against the cake of rosin, to slowly work the rosin into the hair, for the entire length of the bow. This may take a bit of time (which is why the shop will often use a powdered version, which can be applied much more quickly).

The same technique can be used if your bow does not seem to be playing at all and is sliding on the strings, even when it has not just been re-haired.

On the other hand, if the bow is already rosined and plays to your liking, then you can just use a couple of swipes, the entire length of the bow.

If there are just one or two spots on the hair that you notice don't play evenly or don't play at all, you can use short strokes with the hair on the rosin just to target those specific spots. However, if the reason for these slippery areas is that the hair has become dirty or oily (particularly at the frog, where your hand may rub against it frequently), applying rosin usually will not correct this problem and the bow may need to be re-haired or at least cleaned by the violin shop.

It is important to be very careful not to use to much rosin. This is a common problem that can result in a scratchy sound. You should not see any white powder coming off the strings and bow when you play. Rosin also tends to build up on strings (especially when one has used too much) and therefore it is important to wipe them down after you play.

Is acceptable to rosin in both directions for bowed strings (except for bass).

Super Sensitive Clarity Spectrum Rosin for Violin and Viola

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.

Simply Violin: 90 Sacred Songs, Hymns, and Spirituals

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.

First Frets: a Review

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.

Another issue is that, 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. One way to address this issue is to move the bridge so that the string length matches the spacing of the First Frets.

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.

Using Flash Cards to Learn Note Reading on the Violin: Why Finger Numbers Aren't Enough

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.