Friday, February 13, 2009

Which rosin brand is the best?

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.
Cheap violin rosin
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.
Andrea 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.


01Pirastro Rosin 030405070809
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
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
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!

Thursday, February 12, 2009

Who are some of the top American violin and bow makers?

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
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 Zabinki violin bow
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 bellini violin
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
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.


Can you show me pictures of great violins?

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)
Guarnerius del gesu scrollGuarnerius Guarneri del gesuGuarneri Guarnerius del gesu


Antonius Stradivarius, Cremona, Italy, (1644-1737)
Antonio StradivariusAntonius Stradivariusstrad back
stadivarius strad violinstrad violin neckstrad violin back
stradivarius violin

Nicolo Amati, Cremona, Italy (1596-1684)
amati violinamati violin
Nicolo Amati violin

I need to rent a violin. What store is best?

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

House of note rentals
____________________________________________________________________________________________________________________________

I have a collection of loose violin strings. How can I identify them?

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.

If you are unable to identify your strings even after using this chart, you can use our new service for identifying strings.


Photos:

Pasted GraphicCorelli Crystal heavyCorelli Alliance Vivace MediumDAddario Helicore MediumDAddario Pro Arte MediumDAddario Pro Arte HeavyDAddario Zyem MediumLarsen MediumPrastro Eudoxa Medium with Oliv Gold EPirastro Evah Pirazzi mediumPirastro Gold HeavyPirastro Obligato MediumPirastro Tonica MediumPrim MediumPrim HeavyDominant medium with Kaplan Heavy EThomastik Infeld Red MediumThomastik Superflexible MediumThomastik Vision Medium



Violin String Color Codes
Violin String Color Code

Violin String Color Chart
Violin String Color Coding


Very complete string identifier chart
violin string identity chart

The strings identified in these photos, tables, and charts (in three gauges, light, medium, and heavy) are as follows:
Corelli Crystal
Corelli Alliance
Corelli Alliance Vivace
D’Addario Helicore
D’Addario Pro Arte
D’Addario Zyex
Larsen
Pirastro Eudoxa
Pirastro Evah Pirazzi
Pirastro Gold
Pirastro Obligato
Pirastro Tonica
Pirastro Oliv
Pirastro Eudoxa-Oliv
Prim
Thomastik Dominant
Thomastik Infeld Red
Thomastik Superflexible
Thomastik Vision
D’Addario Helicore
D’Addario Prelude
D’Addario ProArte
D’Addario Quantum
Euro
Goldbrokat
Huayin
Jargar
Larsen
Lewis
Pirastro Black Label
Westminster
Pirastro chorda
Pirstrao Obligato
Pirastro Synoxa
Pirastro Aricore
Pirastro Eudoxa Aricore
Pirastro Flexocor
Pirastro Chromcor
Pirastro Piranito
Pirastro Tonica
Pirastro Permanent

Tuesday, February 10, 2009

I want to go to conservatory to become a professional violinist. How do I prepare?


Juiliiard Orchestra
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.

What size violin should I get for my 9 year old son?

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).

Violin sizes


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.


Violin Sizing Guide

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.

Scroll Test

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.