Monthly Archives: April 2009

String Instrument Setup Guide

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This checklist tells you about our professional shop adjustment (or setup).  You shouldn’t ever consider buying an instrument that has not been expertly adjusted! You might be surprised to know that some companies just sell you the instruments the way they receive them from China, Europe, or wherever. The chances of these working properly are certainly not good. A poorly adjusted instrument is guaranteed to increase bad technique. Low price alone is not true value. We combine both low prices and better instruments that will not only last longer, but enhance your performance skills as well.

THE BRIDGE

Each bridge must be hand cut  with the correct curve and be fitted individually to each instrument. A carefully fitted bridge allows the strings to vibrate freely without touching the fingerboard, and maintains them at the proper height for easy playing.

THE NUT
The nut should have the correct height and spacing to insure that the strings do not touch the fingerboard so there is no “buzzing” sound when the instrument is being played.

THE FINGERBOARD
The fingerboard must be accurately trued and aligned, smooth and straight, with the proper curvature and correct length and thickness. Fine ebony, not stained or varnished, only lightly oiled. The strings must be checked for correct height starting at the nut and on to the bridge.

THE PEGS
Fine quality ebony pegs individually fitted for smooth easy turning and ideal holding tension. They must be correctly spaced both in relation to one another and not too close to the back of the peg box.

THE SOUNDPOST
Each soundpost is hand fitted to the instrument and properly placed to produce the maximum balance of tone quality and volume. Soundposts fitted abroad by the manufacturers are not usually carefully fitted and placed in proper relationship to the bridge. This is why we do this in our shop.

THE TAILPIECE
These must be sized in proportion to the size of the instrument as it is the link between the end button and bridge. Historically, the tailpiece has been made of the same material as the pegs and end button, which is usually ebony in the case of the student instrument. However, now fine tailpieces are made of new very strong, lighter materials with string adjusters built-in.

THE STRING ADJUSTERS

The new Wittner tailpieces have the string adjusters (tuners) built-in. If wood tailpieces are used, we install only the finest quality adjusters, attached firmly to eliminate any chance of buzzing.

THE CHINREST

A fine quality chinrest must be well-shaped for comfort and balance and attached to the instrument securely.

FINAL INSPECTION

All instruments undergo a final inspection by the staff at Simply for Strings. This assures that the instrument meets or exceeds all specifications.
Many clients say the primary reason for using our instruments is our “set-up” (adjustment). By doing all of the above by hand, one at a time, we can alter the specifications to your specific measurements if they differ from the norm. We will do it YOUR way!

String Instrument Care Guide

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To keep your instrument in the best possible shape we have created this guide to help you keep your instrument looking and sounding as good as the day you bought it.

Instrument
1. Make sure your bridge is always straight and upright.  With normal use and regular tuning the bridge will gradually lean forward.  If the bridge is left like this it will eventually warp and need replacement. To extend the life of your bridge, check it regularly and straighten it so the back of the bridge is perpendicular to the top (or belly) of the violin.  If you are not comfortable doing this yourself, we are more than happy to help you

2. Strings should be checked regularly for signs of wear (e.g. unraveling of the winding).  Strings gradually lose their tonal quality and need to be changed every 6-12 months for optimum sound and performance. Strings should be changed one at a time to avoid the bridge and sound post falling over.  Take care not to over tune your strings as they will break.

3. Never subject your instrument to extreme weather conditions. Never leave your instrument in the car or near air conditioners.  As stringed instruments are made of wood they expand and contract with changes in temperature and humidity levels.  This could cause your instrument to go out of tune, open at the seams, crack and even damage the varnish.

4. Always clean your instrument with a soft dry cloth after playing.  The build up of dirt, oil and rosin on your instrument will damage the varnish.  If rosin and greasy finger prints are left on the strings it will effect their tonal quality and reduce their life span.

Bow
1. Make sure you don’t over-tighten your bow.  You should just be able to fit a pencil between the hair and the middle of the stick once you have tightened it and always make sure there is plenty of camber (curve) in the stick.

2. When rosining your bow use long slow strokes back and forward across the entire length of the hair.  If you don’t have enough rosin on your bow the hair will not grip the strings and the sound produced will be patchy and uneven.  If you put too much rosin on your bow excess powder will coat your bow and instrument and the tone will become scratchy and dull.

3. Always loosen your bow after playing. If you don’t take the tension off your stick it can lead to warping, a loss of camber (the curve in the stick) and the stretching of hair.

4. Avoid touching the hair of your bow. The oils from your skin will be absorbed by the hair which will make it harder for rosin to adhere and result in a loss of tonal quality.

5. Bows need re-hairing every 6 to 12 months (depending on use and seasonal changes).  Hair stretches   and  becomes  brittle   with  use.  Hair   will shorten in dry conditions and lengthen in humid conditions.

6. Do not subject your bow to any undue stress i.e. dropping, holding it by the tip, tapping it on your music stand or push the tip into the floor.

A Violinist in the Metro

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A man sat at a metro station in Washington DC and started to play the violin; it was a cold January morning. He played six Bach pieces for about 45 minutes. During that time, since it was rush hour, it was calculated that thousand of people went through the station, most of them on their way to work.

Three minutes went by and a middle aged man noticed there was musician playing. He slowed his pace and stopped for a few seconds and then hurried up to meet his schedule.

A minute later, the violinist received his first dollar tip: a woman threw the money in the till and without stopping continued to walk.

A few minutes later, someone leaned against the wall to listen to him, but the man looked at his watch and started to walk again. Clearly he was late for work.

The one who paid the most attention was a 3 year old boy. His mother tagged him along, hurried but the kid stopped to look at the violinist. Finally the mother pushed hard and the child continued to walk turning his head all the time. This action was repeated by several other children. All the parents, without exception, forced them to move on.

In the 45 minutes the musician played, only 6 people stopped and stayed for a while. About 20 gave him money but continued to walk their normal pace. He collected $32. When he finished playing and silence took over, no one noticed it. No one applauded, nor was there any recognition.

No one knew this but the violinist was Joshua Bell, one of the best musicians in the world. He played one of the most intricate pieces ever written with a violin worth 3.5 million dollars.

Two days before his playing in the subway, Joshua Bell sold out at a theater in Boston and the seats average $100.

This is a real story. Joshua Bell playing incognito in the metro station was organized by the Washington Post as part of an social experiment about perception, taste and priorities of people. The outlines were: in a commonplace environment at an inappropriate hour: Do we perceive beauty? Do we stop to appreciate it? Do we recognize the talent in an unexpected context?

One of the possible conclusions from this experience could be:

If we do not have a moment to stop and listen to one of the best musicians in the world playing the best music ever written, how many other things are we missing?

-From the Effective Club
Click here to see the original article from The Washington Post.

BAM France Cases – Supply Issues

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Many Simply for Strings customers are eagerly awaiting our next shipment of BAM France cases and have made their pre-orders in anticipation. We were expecting this delivery to arrive around mid April but have not yet seen hide nor hair of it. Rest assured though we are doing everything in our power to track this shipment and get these fabulous cases to you ASAP. For those of you are considering a BAM case I can personally recommend them as a wise and life-time investment and the height of fashion for string players (gorgeous daaaaaaarrling!).  Due to arrive in this shipment are the following cases;
VIOLIN
Hightech Carbon Violin incl. Large Top Pocket
Hightech Tweed Violin incl. Large Top Pocket
Contoured Hichtech Carbon Violin
Contoured Hightech Tweed Violin
Overhead Hightech Carbon
Hightech Slim Carbon Violin – NEW!
VIOLA
Hightech Carbon Viola incl. Top Pocket
Hightech Tweed Viola incl. Top Pocket
Contoured Hightech Carbon Viola
Contoured Hightech Tweed Viola
CELLO
Newtech Cello Black w/Wheels (1002NW)
Hightech Carbon Cello (1002XLC)
As our dollar has been rather unsteady recently and shipping costs have gone up considerably, prices on these cases will not be known until they land on our shores – so keep a look out in the online shop for updated prices with the new shipment.
Please feel free to contact us if you have any queries regarding the BAM France cases or would like to place a pre-order.

Bon Voyage Shannon!

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We bid our sales staff member Shannon Luk a fond farewell last week as he took off on his European journey to Sweden (pictured) and also New York. Shannon will be away for 5 weeks and in his absence the delightful Jessie Roberts will be filling his place – make sure you say hi when she answers the phone.

Safe travels Shannon!

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BAM Releases New Slim-Hightech Violin Case

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The sail-shaped SLIM 2000XL violin case is the newest case in BAM’s popular Hightech line. It shares many features and a minimalist aesthetic with the BAM Contoured Hightech. Fabric-covered injection-molded foam blocks suspend the instrument inside the multilayered ABS plastic shell. The lid opens to a 90-degree angle and closes with a water-proof tongue-in-groove valence. The latches on this case lock with re-settable combination locks—no fear of accidental opening or a jealous colleague pilfering your precious Peccatte bow! The case holds a full-sized violin and two bows with a small detachable accessories pouch. The pouch may or may not accommodate your shoulder rest, so if you’re dedicated to carrying it inside this minimalist case, you should make sure it fits before purchasing. The case comes in carbon finish or, for a limited time, BAM’s special spring stripes, and includes backpack straps. At four pounds, three ounces, it’s slightly heavier than BAM’s Contoured Hightech, but slightly less deep, meaning it may fit an overhead bin space that the other case would not.
This case will be available approx. Mid-May. Stay Tuned!

Thanks for the Cupcakes Mrs. Spiller

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Hard work paid off recently when we managed a 24hr turn around on a bow rehair. The lovely Mrs. Spiller was so impressed she made a stop-off at Couture Cupcakes in Bardon and brought us these 3 scrumptous morcels to say thank you. Obviously we enjoyed every crumb!
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Upcoming Events

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To stay up to date with all of the concerts, events and performances coming to Simply for Strings make sure you join our mailing list and add our blog to your RSS feed.

Common Terms Explained

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Some of the most common string playing terms are explained here…

Arco: Italian for bow. Written in after passages of pizzicato (plucked) notes. Means to return to playing with the bow.

Bariolage: A passage, often in Bach but in Brahms and elsewhere, where the fingers are held down over several strings and the bow oscillates between the several strings. The Bach E Major Partita is a notorious example. Very impressive sounding; not so hard once you get the trick of it.

Bartok pizzicato: Pluck the string vertically by snapping and rebounds off the fingerboard of the instrument creating a “snap” sound.

Bouncing bow: This is not just spiccato, which is an off-the-string, at-the-sounding-point technique of very small up and down bows, originating from the wrist, but a host of other definitions with very fine distinctions as to their meanings. {Worthy of further study are: saltando, saltante, saltato, saltellato, saltellando, sautellé.}

Col Legno: Passage where the sound is produced by striking the wood of the bow against the string(s). One should not use one’s best bow in this type of passage, particularly if the bow is expensive.

Con sordino: With mute. Passages with mute end with the phrase “senza sordino” which means to remove the mute. There are several varieties of orchestral mute including the Tourte, Bech and Roth.

Détaché: Impossible to define this, as there are so many varieties. Basically, up and down; a change of bowing direction with some articulation. Does not necessarily mean staccato (though sometimes defined as such); can be heavily accented or not.

Down bow: If the bow is on the sounding point in the middle of the bow, if you pull down toward the right, that is a down bow. Up bow is the opposite.

Harmonics: Bell-like tones created by lightly touching the string with the flat part of the left finger, which breaks the string into partials. The first harmonic learned by students is the one mid-way between the nut and the bridge, at about an inch or so above (towards the bridge) where the body of the violin begins. Indicated by a 4 and a 0 fingering. Used by composers for affect.

Left hand pizzicato: pizzicato created by a sharp plucking of the string with the violin (left) hand.

Legato: Smooth, tied together. May be indicated by a slur mark.

Marcato: Marked or accentuated notes.

Martelé: Staccato (short) with heavy accent.

Pizzicato: Usually written as “pizz” in the parts, and “arco” when the pizz section is meant to end. Plucking the string with the left hand. Technique may be done in several ways with respect to the holding of the bow in the left hand: (a) for very quick notes in pizz, the left index finger may be extended, and the pizz done without much changing the shape of the bow hold; (b) the bow may be grasped by the fist and the thumb used to balance the hand, with the index finger pizzing; and (c) the bow may be set down in the lap or on the stand for extended passages in pizz.

Ponticello: Orchestral technique of playing on the bridge (sul ponticello). “Dietro il ponticello” is playing behind the bridge. End of ponticello passage may be indicated by “ordinario,” often written as “ord.”

Portamento: An audible slide from one position to the next. As modern stringed instrument technique developed in the later part of the 20th century, players tended to be less and less “smaltzy,” and portamento used more carefully. But in the performances of Yo-Yo Ma (for example) you will be surprised to discover a lot of portamenti, but they do not sound syrupy at all. This is a matter of “taste,” that longed for but often hard to define characteristic of great string playing.

Richochet: Fast bounces, similar to spiccato but in the upper half of the bow.

Sautille :(French; Italian saltando, German Springbogen, Spanish saltillo) – A bowstroke played rapidly at the balance point, one bowstroke per note, so that the bow bounces very slightly off the string of its own accord. It is not indicated in any consistent manner: sometimes dots are placed above or below the notes, sometimes arrow-head strokes, and sometimes the stroke is simply left to the performer’s discretion. spiccato and sautillé are sometimes used as synonyms, though spiccato tends to be applied to a broader range of off-the-string strokes.

Senza Sordino: Remove mute

Slur: A curved line, below which or above which, all the notes are smoothly articulated together. Phrase breaks occur outside the slur. The primary distinction between a slur and a tie, is that a tie unites one or more notes of the same pitch, requiring that the pitch not be replayed, but held the time required. Slurs slur notes of different pitches, as a rule.

Staccato: Generally, short. Spaces between the notes. An important articulation developed by the control of the bow from the second joint of the bow hand on the stick.

Sul tasto: Playing over the fingerboard (which produces a softer sound). Okay as an orchestral technique, not okay as a bad habit, due to lack of bow control or the affect of gravity if the violin is not held parallel (or above) to the floor. End of sul tasto passage may be indicated by “ordinario,” often written as “ord.”

Sul ponticello: On the bridge. Instruction to string players to place with the bow as close to the bridge as possible to produce a glassy metallic but mysterious sound effect. Often written, “sul pont.”.

Tremolo: Orchestral technique of many small and unmeasured up and down bows, accented or unaccented, at various dynamics, as indicated by the composer. Often used to fill the sound more full, or to create excitement or tension.

Vibrato: An oscillating of the sound, used to provide warmth to a note. Basically three kinds of vibrato: finger vibrato, hand vibato, arm vibrato, with string players tending to use one or more of these according to their own propensities. In the Baroque period vibrato was considered an ornament. In contemporary technique, continuous vibrato can be a problem and has to be controlled.

The Right Rest for You

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The correct combination of chinrest and shoulder-rest is crucial to comfort and proper relaxation when playing the violin.

Professional violinists and violists have, for the last century, been divided over the use of the shoulder-rest. Early during the 20th century, some violinists objected to the use of the shoulder-rest because the use of padding against the violin dampened the resonance of the instrument; today’s shoulder-rests, however, touch the instrument only at the edges and actually let the instrument ring more freely than it does when pressed directly against the player’s body. Other violinists object on the grounds that it promotes incorrect left-hand technique, or limits the freedom of motion available to the left hand and arm, or causes the bow to contact the strings at the wrong angle.

The vast majority of professional players today use a shoulder-rest, including most of the soloists. However, it’s also clear that many people play very well without one. Some players who don’t use a shoulder-rest may increase their comfort by using a cloth on the shoulder, a cloth that goes over the chinrest and then under the violin, a small sponge held onto the violin with a rubber band, or shoulder-pads in their suit jacket.

Like everything else involved in playing the violin, using a shoulder-rest is a matter of personal choice – do what feels comfortable to you.

It is usually advisable to begin by finding a chinrest that is comfortable for you. Chinrests vary in height, width, curvature, and placement; some are centred over the tailpiece (Flesch), some are mounted to the left of the tailpiece (Teka), and some are mounted to the left of the tailpiece but extend over the tailpiece. You should try chinrests until you find one that is comfortable.

Chinrests can be made more comfortable by the addition of a “Strad Pad” or similar device – padded material that goes over the chinrest area and can provide a more comfortable cushion.

Once you find a chinrest, you will know whether or not you need a shoulder-rest in order to comfortably hold the instrument. If you do, try a number of different models. Most of the models have adjustable-height legs; you should do some experimentation to see if you can find a height and angle of placement that feels right. Popular brands include the Kun, Wolf, and Johnson. Simply for Strings carry a wide range of Chinrests, click here to view them in our online store.


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