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.

What is Suzuki Method?

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.

A Review of Electric Violins and Equipment

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 more popular electric violins pictured below; all are recommended models.

Yamaha 4-String

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.

NS Designs 4-String

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.

Zeta Boyd Tinsley

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.






 

Mark Wood 7 String Fretted

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.

Jordan 5-String

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.

Acoustic Violin with Pickup

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.

Violin with AMT Microphone

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. 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.

Lexicon Sound Processor

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, although the quality may not yet equal the finest rack units.

L.R. Baggs Pre-amp

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.

Fishman Loudbox 100

Ampfliers: 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. Pictured left is a popular Fishman amplifier, the Loudbox 100. One concern with amplifiers is that each leaves its own imprint on your sound.

Yamaha PA System

PA systems: 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 participating 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 use 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.

Simply Violin Books for Teachers: Scales, Arpeggios, and Songs

Please Click on Description at left for full view.


















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.

Why Scales and Arepggios Are Important For Learning Violin and How to Choose a Violin Scale Book

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.

Simply Violin: Embrace and Extend Suzuki

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.

Can you recommend a shoulder rest?

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.

The Circle of Fifths: Circular Reasoning. A Key to Learning Music.

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.

Where can I buy First Frets

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

I use dominants. Need strings for Guarneri pattern 19th century Scottish violin, I haven't played in years, muddy sound, weak E string.

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 less optimal 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 need a portable rig for electric violin. Can you make some suggestions based on my current equipment?

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 do not necessarily agree with treating the violin like an electric guitar. Guitar is basically a mid-range instrument, and most equipment is designed for this frequency range. It can be quite difficult to render/EQ the higher frequencies violin uses without creating a sound that I would call one-dimensional and a little "empty."

Nevertheless, pedals are a good start. In my opinion ( and pat's, stern, etc) delays with some pitch modulation to spread the sound out are the key to enhancing any electric instrument, to sound "big" and project.

I recommend stereo rig to best utilize the pedals. I doubt a compressor would be of value, as violin is already naturally compressed.. A simple volume pedal should be more than enough. Need for eq depends on whether amps have enough eq. EQ is needed for acoustic guitar to notch out feedback frequencies. I tried Zeta's MIDI converter a while ago and wasn't sure it did a good job tracking the violin. As with any of this equipment, it is a good idea to experiment with it before purchasing, if possible.

Ideally, you would need to try everything and keep what you like.