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.