Strings Magazine

How to Tell If You Need a Rehair
What to look and feel for to know if its time to have your bow rehaired
By Erin Shrader
Some people can go for years between rehairs while others seem to need a new hairdo every six
weeks. Horsehair doesnt just go bad. Open up a centuries-old piece of furniture and youll
often find the horsehair stuffing in excellent condition. Bows can hang in the shop for years
without needing a rehair (of course, theres probably a reason theyve become part of the
permanent collection). But hair does break and stretch, and eventuallythough we dont fully
understand whystops engaging the string. Sometimes you can tell if its time for a rehair by
simply looking, other times its a matter of feel. A bad-hair day can also be dangerous for your
bow.
So, know when its time to rehair. Here are some guidelines.
Too many broken hairs on one side puts uneven tension on the stick and will eventually pull the
stick to one side. Straightening the stick requires heating, which always involves some level of
risk, even in the most experienced hands. Best to avoid this situation if you can by getting a
rehair before its a problem.
If the hairs always break in the middle of the bow and look like theyve been chewed off, there
could be too much camber in the bow. This can feel nice and stable, but if the stick is too close
to the hair at playing tension, the hairs grind between the stick and the string when you bear
down on the bow.
If youre constantly chewing through hair, something about the player-instrument-bow
combination may not be working for you. The bow that worked so well on your old fiddle might
not make the new one sing, or maybe its time to take your instrument in for a checkup.
Consider looking for an instrument or bow that gives the response youre looking for without
forcing the bow.
Technique may also be a culprit. A firmer grip and more pressure on the strings dont
necessarily deliver more sound. The bow actually vibrates, as do the strings and the instrument,
and the difference in resonance between a heavy grip and a light one is striking. Also, if you
find your hand creeping up the bow just a little, your fingers may be instinctively responding to
a place on that particular stick that creates a better response or freer sound. Dont feel glued to a
particular spot on principle if a slight variation gives you better tone and response.
In climates with markedly contrasting seasons, its quite common to rehair bows in the spring
and fall due to changes in humidity. Hair thats the right length for the dry season can be too
long to even reach playing tension when the rains come. Of greater danger to the bow, though, is
hair thats too short for the dry season, which can easily snap the head right off a bow. How can
you tell if humidity is a potential threat? If the skin is dry on the back of your hands, check your
bow. If you cant loosen it enough to take the tension off the stick, get a rehair. (If the dry spell
is temporary or help is not readily available, refer to the accompanying sidebar.)
If the hair gets too dirty (or smells suspiciously of peanut butter) just get it rehaired. Some
people wash the hair with anything from shampoo and conditioner to dish soap and are happy
with the results. But its important (and challenging) to keep water away from the ends of the
hair and the wooden wedges that hold them in. Moisture-swollen hair and plugs can cause
damage or make the wedges fall out. There are commercially available bow-hair cleaners, but in
my experience, they just leave a sticky, glassy mess when rosin, softened by the solvent in the
cleaner, rehardens around the hair. The solvent for rosin is alcohol, which is also the solvent for
the varnish on your stick. Dissolving varnish on the stick is not the same disaster as on your
instrument, but why court mishap?
Sometimes its a subjective feeling that sneaks up graduallya feeling that the hair isnt
engaging the strings the way you remember it, or a feeling that you want to keep adding rosin.
Ironically, too much rosin can have the opposite of the desired effect. Before deciding that an
otherwise full head of hair is ready for replacement, try removing some rosin with a soft,
clean, dry cloth. If that doesnt work, and its been a while since your last visit to the violin
shop, get a rehair.
Occasionally a new rehair just doesnt seem right. Sometimes its perception, sometimes theres
something wrong. If youve been playing on too-long hair for a long time, youll have become
accustomed to the frog sitting farther back on the stick, which changes the way a bow feels or
handles. Try getting used to the rehair for a while. If you know somethings wrong, first try
taking it back to the shop that did the job, especially if youve been happy with its work in the
pastthe shop could be trying hair from a different supplier or training a new rehair person. Its
hard to correct problems without feedback from the client. If you just cant work with the shop,
ask your colleagues whose rehairs they like. If theres no one good in your local area, consider
checking out some of the new mail-order rehair services. But one caveat: get a real person on
the phone and ask about the training and experience of the people doing the work.
Artist Blog: Caeli Smith on How Much Is Too Much When Writing on Sheet Music?
By Caeli Smith
I love to write. In fact, I write all over my sheet music. Each line is crammed with as much
information as I can fit. Heres what a page from my Bach Sonatas and Partitas looks like:
As a conservatory student, I religiously taped every lesson with my Zoom digital recorder.
Immediately afterward, I listened to the tape, and wrote detailed notes in my musicmaking
sure to include every precious word that came out of my teachers mouths. If my Zoom was low
on batteries, I would scramble to dictate each instruction in real time. Teachers would often
remark, Wow, youre writing a novel in there. Some sat patiently while I tried to cram their
sentences verbatim in what little white space remained on the page.
One teacher, as I reached for my pencil, said, Dont write it inyoull remember it better.
This caused a surge of panic that didnt dissipate until I had left the lesson, and, dropping to the
floor in the hallway outside the room, was able to transcribe exactly what he had instructed
(including: Dont write that inyoull remember it better.)
I prided myself on taking such thorough notes. When I read this article from the Bulletproof
Musician, I felt justified in my habit. My fellow students, glancing at a page of a sonata I was
studying, would marvel, Wow, you write so much. How can you even see the notes? When I
looked over at their pages, often they were almost empty of markings, aside from a few
fingerings or bowings. Where were all of the pearls of wisdom that couldnt be forgotten?
Where was the reminder to play with heavy fingers, or to feel their bones vibrating? How
could they even remember how to play it?
Once, at Juilliard, I noticed the co-concertmasters copy of Don Juan sitting on her stand. I was
shocked to see that the page was completely blank. How on earth could she play such a difficult
pieceand so wellwith zero markings on the page?
It wasnt until this past year that I realized I might be too good at following instructions. When I
looked at my sheet music, I would read and re-read the words smudged onto the page, weeks
after I wrote them, trying to force myself to absorb the ideas passed on from my teachers. But I
may have been relying too much on my eyes, and not enough on my ears.
I saw markings in my music as a set of instructions to follow, and my mind would begin to race.
Kinetic energy, kinetic energy I would repeat to myself. Whatever catchphrase I grabbed on
to became louder in my mind than the sound coming from my instrument. I wasnt even
listening to myself; I was just chanting a mantra that, with repetition, became meaninglesslike
a painting you love and hang on the wall, but that, after a week or two, you dont even register
as you walk by.
Instead of seeing the music on the pageor more importantly, hearing the music in my headI
was reading a set of instructions that were hindering my possibilities. And whenever I re-visited
a particular concerto, months or even a year after my first study, I would be barraged by
comments that were incompatible with my present-day self, which would end up limiting my
exploration of the work.
These days, I want to evaluate my music-making from a global perspective. I try not to restrict
myself while following verbal instructions, but instead, I aim to assess the music in a holistic
way, considering every sound I make from outside myself. Instead of reminding myself to take
timeI ask, in an ideal world, how do I want this phrase to sound?
Im still afraid of forgetting something important. I dont think Ill ever become someone whose
music always looks brand-new. But now, revelations from lessons or practice sessions are
recorded in a notebook that perches on my music stand, where I can revisit them when I want.
My sheet music exists as it is, allowing my musical imagination to wander freely.
9 String Stars on the Joys and Challenges of Being a Professional Musician

String stars on the joys and challenges of being professional musicians today, and their
hopes for the future
Compiled by Stephanie Powell and Megan Westberg
For 30 years, Strings editors have had the privilege of covering the string world, with each
months issue serving as a snapshot of the artists, projects, instruments, and events that best
demonstrate the vitality of the musical landscape. So what better way to celebrate an
anniversary than to expand on this notion: What does the string scene look like today from the
perspective of those who know it best?
We asked nine artistsTurtle Island Quartet cellist Malcolm Parson; violinista Anne-Sophie
Mutter; violinist and Fiddler in Broadways production of Fiddler on the Roof Kelly Hall-
Tompkins; violist, and president and CEO of the Curtis Institute Roberto Daz; violinista
Philippe Quint; violinista James Ehnes; violinist and Baroque specialist Rachel Podger;
cellist, co-founding artistic director of Music@Menlo, and co-artistic director of the Chamber
Music Society of Lincoln Center David Finckel; and fiddler and multi-instrumentalist Sara
Watkinsabout their lives as professional string players, their hopes and concerns for the
future, and advice that helped shape their outlook. MW
Malcolm Parson, cellist. Why is this an exciting time to be a string player?

With countless players gravitating toward different styles, its a great time for exploring various
technical and technological possibilities as a string player. Be it infusing loop stations and
pedals, or mere free improvisation, the string world is increasingly opening up to these non-
[traditional] ideas and practices.
What kinds of skills do you think a string player needs in order to succeed in the 21st
century?
Today, string players must not only be great performers but great multi-taskers as well.
With the decline of past music-business practices, we are now required to take full control over
our careers and create a buzz on our own. We must able to book shows, design our own sites,
create marketing and promotional plans, and produce our own videos, as well as record
ourselves, among other things.
What do you think audiences expect from string performers today?
Audiences are still looking for great performances that will leave them mesmerized. Though this
is normally achieved through technical prowess, audiences are now more inclined to react to
performers who are connecting to them from an emotional perspective than the normal
virtuosic.
Though both of these perspectives are needed to be considered a great player to some, being
virtuosic for the sake of virtuosity is pointless and will show in how your audience responds.
How do you expect string playing to change over the course of the next 20 years? What
changes would you like to see?
I expect there to be a lot more string players who can improvise in the next 20 years. That being
said, I would also like to see more string programs across the country create more classes and
lectures in improvisation. There should not be such a small number of improvising string
players when there have been so many greats who have come before us: Stuff Smith, Oscar
Pettiford, Stephane Grappelli, Fred Katz, Ron Carter, and Regina Carter, to name a few.
What concerns do you have for the future of string playing?
My only concern is that we continue to find creative ways to express ourselves as string players
and composers. [I would like to see string players] continue utilizing the advancement in
technology as a positive tool for our creative process and to continue finding [non-traditional]
ways of music making that will inspire the next generation.
Whats the best piece of career (or musical) advice you ever got?
The best piece of advice Ive received was from Mr. Ron Carter. He told me a few years ago
that no matter what gig or performance it is, always do your best.
If you wanted someone to fall in love with string music, whats the first recording you
would recommend?
I would recommend one of my all-time favorites, On the Nature of Daylight, by Max Richter.
What is your primary instrument, bow, and what type(s) of strings do you use?
I play a Montagnana-model cello, which is part of the Jay Haide a lancienne series. The bow
that I play is nothing special and something simple that I bought in Boston, Massachusetts. Im
currently using Jargar strings for the A and D strings and Larsen Soloist Editions for the G and
C.
Anne-Sophie Mutter, violinista. Why is this an exciting time to be a string player?

Its not particularly more exciting than it has been, you know, hundreds of years ago when
Mozart wrote his fabulous Sonata KV 454, which I will perform for my 40th stage anniversary.
They always had a great number of string players pushing the repertoire forward and that is
what I think really counts in music history in terms of legacies and what has made the stringed
instruments so interesting. This generation has really much advanced [string playing] in terms of
how much further the violin can go and how much more repertoire we can look forward to.
century?
I dont see any great distinction between the instrumentsin order to be a musician you, of
course, [need to be] knowledgeable because talent alone is a rather slippery slope and can be a
rather thin eggshell to walk on. You need a deep understanding to question what you have done
in the past, what you are doing currently, and where you want to go in the future. Curiosity,
humbleness, an unstillable thirst for information for the different galaxies out there. Being
resilient and content that your role is that of a servant to the composer. I think one should be a
servant to the music.
Im always very intrigued by an audience that knows the past as well as the present. In order to
be an audience member with very skilled ears and the ability to really judge quality from the
mainstream, one has to know where the great violin players and the great string-playing
tradition are coming from. One cannot know just by looking into the recordings of todayyou
have to dig deeper; you have to go back to the last century. You have to know what Mischa
Elman sounded like. What was Pablo Casals doing? So that is hopefully part of the expectation
that an audience is well-informed. Other than that I think audiences rightly expect being touched
excited with a lasting memory of the music of the live performance they have attended.
Hopefully that will contribute to them being hooked on music, coming back, and helping us
musicians recreate music again and again in the most passionate and insightful ways.
Every generation needs musicians who are bold enough to view music through their own unique
set of eyes. We dont need another generation of well-trained slick performers. We need the one
who goes out there like Dinu Lipattihe almost died when he went onstage, he was so nervous,
so passionate, so burning for it. We need to keep a few of these great ideals, pillars of
musicianshipof artistry. That fire we have to keep going. We always have to aim for the
highest production in order to ensure that the audience and a generation of players in the future
know what real quality sounds like.
I just finished a book by [Joseph] Szigeti and he was complaining in the 60s that he was under
the impression that there was only a mediocre generation of string players coming about. And
that is what I am sometimes concerned about. Im concerned that every generation has to
struggle with the fact that we need people out there who commission contemporary music
who see themselves as explorers for these galaxies. We are the interpreters, and the public may
not be immediately interested in [the pieces], but they need to put the quest for leaving a legacy
in music before anything else. Im concerned that record companies are struggling. Im
concerned about an array of things that has to do with the integrity of the arts and that has to be
taught from one generation to the next.
Boy! Im concertizing now for 40 years! Ive gotten a lot of advice; Im still getting advice; and
Im giving adviceI have no idea how valuable that is. [Laughs.] Anyhow one of the many
things [Herbert von] Karajan told me in ancient times was: If you have reached all of your
goals, you have most certainly aimed too low. The advice really is to be ever questioning, in a
healthy sense, what you are doing. You have to question [your] sources of information, and the
subjective [influence] of that particular period in your lifethe way you look at a certain piece
of music, if it has value to the repertoire, and how you could possibly evolve.
Reading Mozarts letters to his father, one thing is recurring: First of all, composers are
extremely passionate in their way of performing, not only composing but performing their own
pieces. And the second point: There are many ways to interpret musicthere is not one
interpretation that will do the piece justice to its fullest.
And its interesting to talk to Sofia Gubaidulina, who wrote In Tempus Praesens for me. Once
it wasnt exclusive to me any more, Gidon Kremer started to play it and it was just wonderful,
but very different from my view point. And she embraced both players viewpoints. And this is
what keeps music alive and sums up the essence of music-making: [being] well researched,
being bold, being humble, and never being satisfied with what you are doing because your
fantasy should be miles ahead of what you are physically able to do.
would recommend?
Oh boy, thats a very difficult question. You know when I was very young, probably the trigger
of me starting with the violin was the Beethoven Concerto played by [Yehudi]Menuhin. But
when I had already taken up the violin I was very intrigued by Bruckners treatment of the
stringed instrument.
I do feel that [with] a live experience, thoughno matter if its a stringed instrument or a piano
recitalseeing and, much more important, feeling what sometimes happens in terms of magic
onstage [can be] transmitted to the audience. That can be the easiest way to have this spark fly
right into your heart.
So take your kids to the concerts! Go out there and experience it live because nothingnot the
best recorded momentwill replicate that moment when there is this silence in the hall, this
silence of awe because this great creation of the Beethoven is reappearing and its embracing all
of us. And we need young playerswe need them out there. We need them to have this
Olympic fire for the next generation.
What is your primary instrument, bow and what type of strings do you use?
Violin: The 1710 Lord Dunraven Stradivari Bows: Benot Rolland and Donald M. Cohen
Strings: Pirastro, [DAddario Kaplan] Golden Spiral and [Thomastik-Infeld] Dominant
Kelly Hall-Tompkins, violinista. Why is this an exciting time to be a string player?

It is an exciting time to be a string player for so many reasons! As a student, no matter where
you live, an internet connection will give you access to master classes, great teachers, and
concerts all over the world. I had great teachers in South Carolina as a child, but attending
Tanglewoods BUTI at 15 was my first real window into the musical world beyond my
hometown. Now from South Carolina to South Dakota, I reach students by Skype. For
professionals, its exciting that the barriers that separate different types of careers into solitary
silos is breaking down, opening new opportunities!
century?
Versatility: Even if you have a very traditional education, there are more and more genres,
styles, venues, and settings that call us to expand, evolve, and create! Vision: The ability to
conceive of new and creative ways in which our art form can intersect and interact with our
world. Keeping your ear to the ground: While its not necessary to chase after trends, it is a good
idea to find the rhythm of your time.
Audiences expect to be moved and transported by string performers today. We get technical
wizardry from our mobile devices (well, sometimes). From an art form, audiences crave artistry
and connection, and want technique [to serve] as a facilitator to open the door to that
inspiration.
Through programs like El Sistema and organizations like Sphinx, I am so happy to see string
instruction become accessible to so many more students. I also hope to see a return to strong
public-school music education, like the one in Greenville, South Carolina, where I started
playing violin. I am a big proponent of the STEM to STEAM concept for the core education
curriculum: Science, Technology, Engineering, Arts, and Math.
Because string pedagogy has become more efficient and seemingly technique-driven, artistry is
not a quality that is necessarily developing at the same level. I hope that we will come back to a
time of more artistic depth and individuality, like the older generations of players who inspired
many of us to play. I think when we have that, orchestras, concert series, and artists will thrive
more often than not.
When I was contemplating a career shift, one of the best pieces of advice I got was in the form
of an image on a card from a friendit pictured someone walking a tight rope that was fixed
only on one end and suspended in midair on the other. It perfectly depicts the essence of some
of my favorite quotes:
I have adopted the technique of living life from miracle to miracle. Arthur Rubinstein
Just take the first step in faith. You dont have to see the whole staircase. Just take the first
step. Martin Luther King
Follow your bliss and doors will open where you didnt know they were going to be.
Joseph Campbell
Imagination is everything. It is the preview of lifes coming attractions. Albert Einstein
would recommend?
Oh thats easyfor me it will always involve a piece of Brahms chamber music! And one of
the pieces I love most in the world is the G major Sextet. I fell in love with that piece through a
concert recording of my high-school chamber-music teacher Lenny Schranze at the Kinhaven
Festival. My percussionist husband now knows it well because I played it so many times when
we were dating. Just recently, I referred the same recording to Harry Smith during our interview
for the NBC Today Show. Though that didnt make it into our segment, he followed up to tell me
how much he enjoyed discovering this piece!
Roberto Daz, violist. Why is this an exciting time to be a string player?

The level of string playing is amazingly highat international competitions to what we see here
at Curtis. [Editors Note: Daz is president and CEO at the Curtis Institute.] The level of young
peoples playing to just get into school nowadays, or even to get into one of the great orchestras
the levels are getting higher and higher and its really exciting to see. I mean people are now
playing Paganinis Caprices effortlessly on the viola! There are wonderful teachers all over the
world now, and its a really exciting time to see whats happening to string playing. You see a lot
of young people with a much broader sense of how to create a career. People now are making
more opportunities for themselves.
century?
People are realizing that when they get a job in one of the great orchestras around the world,
they can also teach, start festivals, and create different opportunities for themselves. That
mindset is a really wonderful thing to see develop and I think schools are really trying to
develop curriculum to make it possible for people to go forward.
Hopefully the sense of excitement of the live performance is still thereaudiences expect that
and the excitement that anything can happen at any given time. At the same time, the level of
playing has evolved and audiences are expecting more and morereally perfection. You hope
that a live performance never gets replaced by the need to perform as close to what you did on
your CD as possible; you hope that the excitement and spontaneity of that performance will
never get lost, and I think that audiences still look for that. Thats why you go to a live
performance as opposed to staying home and following a career through CD releases.
I love to see string players who can play almost anywhere. I would love to see more and more
of that. I think that some of the young artists I have seen come out of Curtisthe fact that they
are as comfortable playing in an alternative venue, whether its a coffee house or a library, as
they are playing in a great concert hall, is a really wonderful thing.
I cant say that Im terribly worried about it. I appreciate the fact that many institutions are now
able to lend wonderful old instruments to deserving young players more and more. Moving
forward, with the price of instruments continuing to riseeven new instruments are becoming
very expensivethose instruments are becoming completely out of reach. They offer such an
incredible experience and a learning opportunity for a young person and I hope that access to
instruments like that will continue to be possible.
As far as playing itself, I think as long as we keep fostering the sense of the individualwe
dont want you to sound like everyone else in the studio or at schoolthere are a lot of
wonderful opportunities ahead.
I think that sometimes when people expressed doubts about what I was doing, or how I was
doing it, it actually made me sort of rethink my opportunity or my game plan. I think that we
need to be encouragingnot to give people false hopesto have people understand that
diversified careers are really wonderful and a preferable way forward. Whether it was done in a
positive or critical way, I was always aware of the fact that I could do a lot of different things.
And Ive always been happy that my career, even now in administration, has been very
fulfilling.
would recommend he or she listen to?
I grew up in a house where my dad is a violist and my mom is a pianist, so I grew up hearing
great string playing and great music. I can tell you that as a violist I certainly wore through a
recording of [William] Primrose playing Harold in Italythat was one of the things I listened to
a lot. But [for] someone who doesnt have that kind of access at home, a piece that people
always respond to for obvious reasons is the Barber Adagio for strings. I think thats the kind of
piece that would encourage someone to want to make music like that. That piece has such a
broad appeal I can imagine it might make someone curious about what it would be like to play
it.
What is your primary instrument, bow, and what type of strings do you use?
Viola: The ex-Primrose Amati viola
Bow: Dominique Peccatte
Strings: I actually use [Thomastik-Infeld] Spirocore on it. Some people think its a little
sacrilegious on an instrument like that, but Ive had it set up like that for years and it works! Its
very flexiblewhether its for chamber music, recitals, or concertos. Its very stable.
Philippe Quint, violinista. Why is this an exciting time to be a string

player?
Music is the language of the soul, a path to creativity, an instigator of imagination. Its math
its science. The world on four strings had always been an exciting journey for me. I consider
myself very lucky to be a musician and artist. Being a violinist in particular has many perks: For
one, playing on the 1708 Ruby Antonio Stradivari violin, which is on loan to me through the
Stradivari Society of Chicago, is a little like having your own personal miracle in a violin case.
Every day I open the case and can hardly believe the incredible work of art that is in my hands.
I feel we are experiencing a renaissance of string playing. The level is incredibly high. There are
many great performers with unique voices.
century?
The music world is full of opportunities. Whether your life path will take you toward a career as
a soloist, chamber musician, an orchestra player, or all of the above, what is important is to
consider yourself an ambassador for your craft and an advocate for what you love. In a world
where classical music isnt always understood with wider audiences, it is a great responsibility
for all of us to make sure that we [inspire] the next generation of concert goers that are anxious
and willing to experience the power of classical music.
Audiences vary in their preferences so I would concentrate more on what string players can
expect of themselves to bring to those audiences. Quality of playing is essential, memorization
of the music is particularly important to develop during early years, but in the future it is
important to realize that playing correct notes and following the dynamics is only the beginning.
It is the musical impact we must leave the audience withconveying the message of the
composer through our own unique ways.
I see that the world of classical music and string playing is successfully readjusting to the new
world. We are seeing many artists with vision and thoughtful programming that sometimes
incorporates visual effects. More of that is forthcoming. In terms of actual technical aspects of
playing, we will be seeing artists and composers seeking new effects and new sounds, merging
genres, compositions infused with political or personal messages. My hope is that the tradition
of string performers who were also accomplished composers will come back. Also I hope the
ability to improvise onstage will be more encouraged and appreciated.
My concerns have mostly to do with teaching methods and parenting. To elaborate on both
subjects: I have been giving master classes regularly around the world for almost two decades
now. What I frequently encounter is a student who is struggling with musical material due to the
wrong path suggested by a teacher or mentor. The second issue is overly ambitious stage
parents, who are infusing their children with the fear of making mistakes or of not being
perfect. These are very serious concerns that I am now constantly addressing in my work with
students and conversations with their teachers and parents.
Isaac Sterns suggestion: To always look for a meaning behind every note.
would recommend?
This is very important: proper introduction to classical [string] music. Pretty much any
symphony by Haydn, Mozart, Beethoven, or Brahms. Hitting a newcomer with Shostakovichs
Tenth Symphony might be too much to start this journey, however I have also met folks that
were so impacted by Shostakovich as first-time listeners that once again it all comes down to an
individuals taste and personal affinity for a particular style.
Primary violin: The 1708 Ruby Stradivari
Bow: Francois Peccatte
Strings: I have used, for many years now, Thomastik-Infeld Vision Titanium Solo with a Jargar
E string.
James Ehnes, violinista. Why is this an exciting time to be a string

player?
Its always an exciting time to be a string player! But I would say that there are so many
opportunities out there and people have learned the value of making ones own opportunities.
You see people doing all sorts of creative things as string playersplaying all types of music in
all types of venuesand I think that that sort of openness and that sort of creativity makes this
an exciting time.
century?
I think its probably not much different than the skills you need to succeed at any other time.
There needs to be that combination of things that are in your control and things that are,
unfortunately, out of your control. But [there needs to be] that combination of commitment, total
dedication, a certain amount of natural talent and abilityand not just the ability to do certain
things instrumentally, but the ability to concentrate in an increasingly fragmented world.
Peoples attention spans are shorter and shorter and thats not a good quality if youre trying to
become a professional musician. This might be more specific to our timesI think one wants to
be creative nowadays: finding your own opportunities, making your own opportunities, finding
what makes your voice unique, and how to bring that to people. Its not so easy these days to
say, Well, I play my instrument really wellIll be fine, because there are so many people
that play their instruments well, want it just as badly as you do, and might be a little bit more
proactive about getting out there.
The overall standard of playing is very high these days so theres an expectation that if youre
paying money to go to a performance, it will be at a very high level. And with so much access to
musicI mean you can get on YouTube and hear every great violinist from the past 100 years
I think that listeners standards are high. Listeners are looking for the types of players that
play with commitment and command, and make you pay attention. One hundred years ago it
was a very, very big deal because you didnt have the opportunity to listen to music that much.
Whereas now, I have more music on my iPhone than someone 100 years ago would have heard
in his or her entire life.
Its hard to sayits hard to know where things are going to go. I think that each generation is
inspired by the great players of the former generation and I dont think its possible to see when
youre in the moment who those people are going to be until after its already started to happen.
I think that theres sometimes a dangerthe music world can be very dogmatic and certain
people say, If you play this piece of music from this period, this is the way you should
approach all manners of interpretation. And I think there is a real danger with that, but on the
other hand I think that there are some players that are overly free, without necessarily being
respectful to the composers wishes.
In a more existential way, I think its great that there is variety out there and that there are
opportunities for listeners to hear, say, a dozen violinists in a given season and all of them will
have something different to say. And listeners can make their own minds up about who they like
best or whose music touches them the most.
You hear kids play sometimes, [maybe] in a master class, and they might be playing something
in a very strange way. You ask them, Well, have you listened to Heifetz play the [Julius] Conus
Concerto? and the answer is no. Then you ask, Well, who did you listen to? And he or she
says, Well, I got onto YouTube and I heard some student from wherever play it. Well, thats
not really taking advantage of the knowledge you have available. I think that its important that
people with so much at their fingertips for inspiration are careful about turning to the right
sources.
The best advice is from my dad when I was a little kid. One day I just didnt feel like practicing
and he said, Do you like to play the violin? And I said, Well, yeah. And he said, Do you
want to play the violin? And I said yes, and he said, Well, do you want to play the violin
well? And I said, Of course I want to play the violin well! So he says, Well, then you have
to practice! Theres only one way and thats that you have to practice. And I thought, well,
thats not what I wanted to hear, but its pretty iron-clad logic. There are no shortcuts.
I think if you want to be better you have to work, and if you dont want to work youre not
going to get betterand thats OK if you dont. If you feel that thats not for you, then
congratulations because youve made a really important realization. But listening to music or
immersing yourself in culture or listening to great recordingsthese are not going to make you
play the violin well. I think that sometimes students think that if they sip coffee and listen to the
David Oistrakh performance from 1958 of such and such, it will make them play the violin
better and the fact is that its not.
would recommend?
Wow, thats really hardI think you could ask me this question 100 days in a row and Id give
you 100 different answers. But definitely something I remember as a kid just loving and still
loving so mucha recording that if a person says, What is it that you do and why do you like
it? I will often give them [as an answer]the Heifetz recording of [Max Bruchs] Scottish
Fantasy. I think thats a good place to start.
Violin: The 1715 Marsick Stradivari
Bow: Franois Tourte from around 1810
Strings: Peter Infeld
Rachel Podger, violinist

Why is this an exciting time to be a string player?
I think its quite amazing to be alive in the 21st century, whatever instrument you playjust
imagine, centuries of beautiful music composed and so much of it! Living in this day and age
feels luxurious to me as we have such a huge choice of repertoire, especially as string players,
but even more so as violinists! We are spoilt for choiceI find it exciting that one day you
might be playing Monteverdi, the next Schubert, and then the next possibly Shostakovich!
century?
Its useful and instructive to be well versed in as many styles as possible, covering Baroque,
classical, and contemporary, and vital to keep interested in all you come across, whatever it may
be. I was watching the third Harry Potter movie with my girls the other night and enjoyed the
amazing film score by John Williamsits fabulously evocative and theres some wonderful
string writing there! This doesnt necessarily mean you would be a specialist in all styles, but
having a basic knowledge of the language of any style is not just fascinating and enriching for
you as a player, but also, of course, makes you a versatile and flexible musician.
Probably beautiful and expressive sounds that move the heart and soul . . . thats at least
something I hope for when I go to a concert!
I think string playing and teaching has become a lot more open-minded in the last 20 odd years,
embracing changing attitudes toward different styles, and I hope this continues.
To sing through your instrument and find your unique voice that way. Also, to be consistent in
your self-beliefanything that goes wrong is then not the end of the world!
would recommend?
Gosh, there are many pieces I could list here, and its really impossible to choose, so here are a
few (with a heavy emphasis on Baroque repertoire, since thats my passion!): Monteverdis
Sinfonia from Orfeo, Purcells Fantasias, Corellis Concerti Grossi, Bibers five-part string
music, Vivaldis Op. 3, Bachs Brandenburg Concertos (or in fact anything by Bach!),
but especially solo Bach as its good for the soul, Mozarts String Quintets, Mendelssohns
Octet, Beethovens late string quartets, and Schuberts
String Quintet.
I own an Italian violin by Pesarinius, dating from 1739, which I found in a modern set-up, and
had it re-Baroqued to its original state (i.e. smaller bass bar, shorter and straight neck,
Baroque-style bridge, thinner sound post). My bow is by the late Ren Groppe and is a copy of
a French Baroque bow from around 1720 (good for playing solo Bach!), and I use various types
of gut strings by Toro, Gamut, and Aquila.
David Finckel, cellist. Why is this an exciting time to be a string player?

Its exciting for string players today because the styles and levels of string playing are all over
the map. There many different markets for string players of varying skill and musical education,
more places to find a niche than ever.
century?
That depends on what genre one expects to succeed in and at what career level. For some kinds
of music, very little systematized training is needed or even desirable; for others, its hard to
find training rigorous enough to make it to the top.
What do you think audiences expect from string performers?
Audiences today generally expect projection of sound, musical ideas, and personality as top
priorities.
How do you expect string playing to change in the next 20 years?
I expect to see the importance of individuality return as a criteria for artistic success, which I
welcome, along with a growing sense of supporting the composer as the performers primary
responsibility.
My concerns for string players are the same as for the entire classical-music industry: lack of
general education and lack of support, recognition, respect, and understanding of the high arts
by the media, government, and prominent figures in society. The level and number of
extraordinary and worthy young artists are in danger of exceeding the number of people of
understanding interested to hear them.
What is the best piece of career or musical advice youve received?
Career advice and musical advice can either be looked at as separate or equal; I see them as
equal. To be a great performing musician you have to have the physical discipline of a world-
class athlete, the intellectual curiosity of a Rhodes Scholar, and the yearning for artistic depth
and excellence of the finest artists, of any field, who have ever walked the face of the earth. If
you really do all that, the career will follow. It may take time, but you will not go unnoticed, and
people will be interested in you because you show a love and dedication to music that is above
and beyond mercenary and narcissistic concerns.
David Finckel, cellist. Why is this an exciting time to be a string player?
Its exciting for string players today because the styles and levels of string playing are all over
the map. There many different markets for string players of varying skill and musical education,
more places to find a niche than ever.
century?
That depends on what genre one expects to succeed in and at what career level. For some kinds
of music, very little systematized training is needed or even desirable; for others, its hard to
find training rigorous enough to make it to the top.
What do you think audiences expect from string performers?
Audiences today generally expect projection of sound, musical ideas, and personality as top
priorities.
How do you expect string playing to change in the next 20 years?
I expect to see the importance of individuality return as a criteria for artistic success, which I
welcome, along with a growing sense
of supporting the composer as the performers primary responsibility.
My concerns for string players are the same as for the entire
classical-music industry: lack of general education and lack of support, recognition, respect, and
understanding of the high arts by the media, government, and prominent figures in society. The
level and number of extraordinary and worthy young artists are in danger of exceeding the
number of people of understanding interested to hear them.
What is the best piece of career or musical advice youve received?
Career advice and musical advice can either be looked at as separate or equal; I see them as
equal. To be a great performing musician you have to have the physical discipline of a world-
class athlete, the intellectual curiosity of a Rhodes Scholar, and the yearning for artistic depth
and excellence of the finest artists, of any field, who have ever walked the face of the earth. If
you really do all that, the career will follow. It may take time, but you will not go unnoticed, and
people will be interested in you because you show a love and dedication to music that is above
and beyond mercenary and narcissistic concerns.
Sara Watkins, fiddler. Why is this an exciting time to be a string player?

Every time is an exciting time to be a string player! I grew up in the non-classical worldwith
a few years of classical lessons, Suzuki lessonsand I was always the black sheep at recitals
and things, like Oh, isnt that cute the fiddle player is playing classical music! But I always
felt like there was either non-classical bluegrassy stuff or classical. Obviously theres jazz and
Cajun and all these things, but it was like there were the folkies and the nonrefiners, and the
refiners. And I feel like you dont have to choose as much these days, like theres much more in-
between stylistically in terms of what people are getting out of their instruments, choices that
players are making that are not overtly one or the other, but that string players are learning from
the other camps and adopting things that they identify with, which I think is really good for the
instruments, for the players, and for the enrichment of the scene.
century?
I think a string player needs the same things that all musicians need. The more tools you have in
your toolbelt the better. And I think its really good for string players to play all the other
stringed instruments, too. Its important for people to be able to relate to the other people in the
band that theyre playing with.
I cant speak orchestrally, but in a non-orchestral world I have found its really good to know
what it feels like to be the guitar player in the band because that teaches you things that you
need from other string players. When you are in a more supportive role you realize: Oh, its hard
for me to accompany a string player whos playing in a way that doesnt gel, whether its timing
or pitch or whatever. But then you relate, you sympathize with the plight of the other people
in the band.
I think its really important for musicians to try and experience that as much as they can and itll
make you a better string player, even if you dont want to become a guitar player. It strengthens
you as a musician to be able to see the other side of the stage and help them because when you
help them youre helping yourself as well.
My favorite musicians are the ones who really feel in the moment, the ones who make me feel
as an audience member like they are on the same ride Im on. They dont really know how the
storys going to end. Whether its something theyve played or sung tens or hundreds of times,
my favorite performers are the ones that make it feel like this was the first time that theyve told
this story or theyve played this part. And they strive to get the most out of it in the moment that
they can. And a lot of that has to do with your ensemble, everyone being on the same page
trying to react to each other. What I hope people get from my shows is the feeling that we all
went on a ride together and that we came out the other sideand something special happened
that night.
How do you expect string playing to change over the course of next 20 years? What would
you like to see?
I think the change Im seeing is the most encouraging thing. My experienceat camps and in
different situations where there are musicians thrown together and people are adapting and
joining inis in that collaboration and that community of players. I like to see it. I like to see
when other people are collaborating and joining in, out of their comfort zone, and are really
trying to appreciate this whole other angle. Its like everything: Its like the world, its like a
conversation, its like a dinner party, playing with people, and my musical joy comes from
playing with people. And Ive been really encouraged to see that a lot of people who come from
the classical structure adapt fiddly things to their world, without compromising their technique
and their discipline. Its been really, really sweet.
My friend Eric Jacobsen is the conductor at the Orlando [Philharmonic] Orchestra (he also plays
in the Knights, and he conducts the Knights, actually, and he was a part of Brooklyn Rider for a
very long time). Hes sort of my peek into the classical world. Its my only peek! It seems like
hes trying to incorporate song more into the orchestral program and trying to bring a more
diverse audience into the hall. Im sure it will probably remind people Oh, maybe I do like
more stories in songs in that structure, not the traditional classical vocal technique, or, Maybe
I do like orchestra, and its not what I thought it was.
Its opening people up to a new experience. While Eric is doing that, hes also enabling people
like me to have this incredible experience to sing with an orchestra, or play with an orchestra. I
would probably not have that otherwise. In broadening his program, hes giving me, and other
people like me, a gift that we could maybe have this incredible collaboration that we hadnt
really thought possible.
None, as long as people keep adapting and trying to stay present and be inspired by whats
around them and be open to adaptation, I think everything will be great.
If you cant play it slow, you cant play it fast. Thats advice from one of my two earliest
teachersI cant remember who said itDennis Caplinger or John Moore. They were in a band
together.
Growing up, Dennis was my fiddle teacher and that was sort of a mantra of theirs. Because
youre a kid and you just want to zoom through everything and bust through a passage (Id have
brackets on this section thats kind of hard and I would just plow aheadand hope that
everyone forgot about it), they would say, No. You should be able to play everything slowly and
then speed it up. That will expose the real weaknesses.
would recommend?
Thats really hard! To fall in love with string music, oh my goodness . . . There is a beautiful
Sinatra recording: My friend Gabe Witcher turned me onto it when we were talking about music
that we love before this record [Watkins recent release Young in All the Wrong Ways]. Frank
Sinatra Sings for Only the Lonely is the name of the album. And Nelson Riddle did the
orchestration for it, and its just beautiful. Those orchestral arrangements are very moving, the
way they go with the vocal and the way Frank goes with them. Its a sit down and listen to
this kind of record.
How to Make Better Use of Your Practice Time

MANAGE YOUR TIME EFFECTIVELY AND CREATIVELY TO MAKE WOODSHEDDING FUN
By James Reel
Why do people give up playing after just a little study? Usually not because its hard. Not
because they hurt themselves. Not because instrument rental and lessons are too expensive.
No, the problem for most people is practicing. They want to play great, beautiful music, but
what gets in the way is the daily drudgery of practicing. Its like having a chance to go back in
time to help Antonio Stradivari create an instrument, but spending most of your visit watching
the varnish dry.
It shouldnt be that way, says Philip Baldwin, assistant professor of violin and viola at Eastern
Washington University.
Good practicing is creative practicing, he insists. Practicing shouldnt be dull. But how do you
make it more creative?
Baldwin offers plenty of tips on how to avoid mindless repetition.
First, he advises, establish a flexible set of priorities for practicing a new piece. Decide which
elements you need to be working on, and which of them are most important. The order of
importance can change depending on your technical and musical abilities and performance
demands. If you have to play something without a lot of preparation, for example, you need to
get control of the notes, rhythms, and intonation before anything else.
Its really important not to get the cart before the horse, Baldwin warns. A lot of students
tend to focus on just their favorite thing. If intonation is what they deem most important, theyll
focus on it to the extent that they may not consider their physical movement. And if theyre
absolutely rigid physically, they wont hit the notes every time; rigidity destroys good playing.
So your priorities should include some balance of getting the correct notes down, working out
the rhythms and bowings, watching your position and posture, being careful with intonation
(more on that later), working on shifting (with a relaxed left thumb, repeat each shift five times
or more, up and down), watching bow division and articulation, and paying attention to vibrato
and tone, all while developing an interpretation of the piece. Thats just for starters.
Time Management
Before you get nervous about what else youre supposed to accomplish during creative
practicing, Baldwin would like to remind you that you can get a lot of good work done if you
manage your time smartly.
Use a tape recorder or video camera to record a segment of your practice, then play it back and
note the time of every change of activity, and decide if that pattern has helped you make any
progress. If not, change it.
Set a kitchen timer at the desired period you think it will take to accomplish a practicing goal.
One minute? Five? That depends on what youre working on, but dont spend more than five
minutes at any one thing. Having to accomplish the goal in a certain time frame adds focus and
makes you work faster, says Baldwin.
Place a Post-it note at the beginning and end of the passage youre practicing, so you wont be
tempted to waste time by reading beyond the end. Be sure to start with the correct bowing and
position, and dont go on until youve performed the section accurately several times.
But dont use that technique for every single passage you practice. In the midst of one section,
stop playing and perform a different, difficult section once only, then return to your regular
practicing. That keeps you from getting bogged down in repetition.
Speaking of time, repeat a new activity for 60 seconds without judging yourself. Sometimes
students are afraid to try a particular bow stroke, posture, or part of the bow because they are
afraid it will sound bad, says Baldwin. Little is lost if only 60 seconds are devoted to it, so be
brave and take a risk.
Make Your Mark
Most important to using your time efficiently, Baldwin says, is marking your music. Mark
bowings and fingerings in the score as soon as you decide on them; mark reference bowings so
you can start in the middle of a phrase; use colored pencils for specific kinds of markings; use
brackets to identify practice spots; mark tempos. Keep pencils handy, and use them! Then you
wont waste time figuring out the same things again and again.
A lot of students think its their teachers job to mark things in their music, Baldwin sighs.
Students dont feel they have the right to change teachers fingerings or bowings, which
probably is not a bad instinct. But theres nothing wrong with marking a reminder bowing, or
clarifying a direction. I have to tell my youth orchestra to write in staccato or circle piano; if
I dont train them to do that, they wont do it. Maybe its something about the sanctity of this
beautiful page of music.
If I have a nice edition I dont want to get sloppy with, I photocopy a page and do all my messy
erasing on the copy; then when I get it to what I want it to be, I transfer the final marks to the
original.
Clear the Way
To learn notes efficiently, Baldwin advocates what he calls the Zamboni Effect. Zamboni is
the make of the machine that cleans the ice at a skating rink.
It eliminates all the grooves, Baldwin explains. In music, the grooves are the mistakes or the
miscoordinations that we make when we play. By completely reorganizing the way the music is
practiced, your brain can learn in new ways; its not stuck in its old ruts.
To achieve the Zamboni Effect, take a passage you need to practice; rewrite it, eliminating the
printed rhythm; and play the notes one at a time.
The most evident problems, says Baldwin, are rhythm and bow control. The rhythm is
primarily a left-hand problem, while the bow control is obviously a right-hand problem. The
best way to conquer this passage is to separate the functions of the hands and to learn each
independently.
To learn the left hand, first, remove the rhythm and practice the notes as equal quarter notes or
half notes, using a drone pitch wherever possible.
I also find that changing the metric grouping helps a great deal, says Baldwin. For instance,
regroup patterns of fours into triplets or quintuplets, or shift the metric accent to the second,
third, and fourth note of a group.
Once youve mastered the notes, you can address the right-hand problems.
Train Your Ear
Baldwin also advocates using practice time to train your ear. Take a high passage down an
octave. Sing through a passage for pitch and musical contour. Close your eyes and just listen to
a passage in your head. Sing and play at the same time.
Having a good ear is essential to working on good intonation. Baldwin suggests that you use
drone pitches to check the harmonic integrity of your intonation; you could even record a series
of drones with a metronome pulse, and play back to the recording.
Intentionally miss a note or shift sharp or flat, Baldwin says. If you can miss it, you know
where it is. And practice something called visual intonationvisualize the spaces between
notes with the various fingers, so you can create each note accurately in your head before
moving your finger on the string.
There are many ways to work on coordination between the left and right hands while making
practice less repetitive. If you assume the problem is in one hand, says Baldwin, check the
other for the solution.
He suggests that you play a slow passage quickly, or a fast passage slowly. Practice the hands
separately.
Change the tempo, but never go faster than you can play perfectly. Try a musical version of
sprintingpractice short segments, and then join them. Use light left-hand fingers and keep
them close to the strings. Release the thumb pressure of either hand. If youre playing notes in
groups of four, say one-two-three-four as you play. Group notes into units and think only of
the unit, not of the individual notes. And if an open string follows a fingered note under a slur,
use a mild left-hand pizz to help rhythmize the bow.
The Big Picture
But while practicing, dont get so focused on the physical aspects of playing that you forget
about your mind and heart. Baldwin suggests that you spend some practice time analyzing the
musics chord structure, writing in enharmonic equivalents, analyzing bow placement and
distributions, memorizing, even playing a passage backward to keep your brain working.
And in terms of your emotions and those in the music, vary the mood of a section, vary the
dynamics, vary your practice environment, vary the time of day you practice, do mock
performances for a tape recorder, and do real performances for anybody nearby, even your dog.
At all times, keep your mind in motion, right from the beginning of your practice session.
Baldwin is especially fond of a line from Robert Gerles The Art of Practising the Violin: Think
what you need to accomplish specifically during the days practice: three minutes spent thinking
about your practicing before you start are worth three hours spent in aimless repetition, during
which you only learn the bad better.
Photo by Michael Patrick O'Leary

Strings 30th Anniversary: 6 Questions with Violinist Hilary Hahn
NOVEMBER 9, 2016
Why is this an exciting time to be a string player?
Whatever kind of player you want to be, people who appreciate your playing can discover you
and encourage you.
century?
Skills: Whatever is needed in order to play the music. Traits: Curiosity, focus, friendliness, and
joy in collaboration. All else is style.
The same thing they hope for from every performer: a transporting, live listening experience
that intensifies whatever the audience needs to feel in that moment.
I dont know what to expect. Id rather be surprised. It will be interesting to see how the next
generations are influenced by the wide availability of video content from so many performers.
Given all of the available resources, I would like to see a return to an older style of technique
and tone production from some players, and a development of current techniques from others.
In short, I would like to see the whole range of possibilities represented.
Though it wasnt said to me, I often think of the Picasso quote, Inspiration exists, but it has to
find you working.
would recommend he or she listen to?
To fall in love? Barbers Adagio for Strings in its original quartet form, played by the
Emerson String Quartet. Listen in a dark room without moving, eyes closed for the whole 7
minutes.
How to Steady Your Bouncing Bow
FEBRUARY 8, 2008
Learn the son fil and parlando exercises
By Paul Stein
From the moment the bow leaves its starting point, it runs into interesting obstacles. Every time
it changes direction, string, or speed, there may be a surprising bump or scratch. As you begin to
examine the most annoying of string players problemsthe bow bouncing out of control
remind yourself that everyone has experienced it at one time or another. Its also not a problem
you can throw money at, since youre as likely to bounce with a pricey Peccatte as you are with
a really cheap bow.
Even though the most common cause of nervous bow is stage fright, a helpful strategy for
solving the problem is to anticipate the bows movements and its variable speeds. The bows
potential for chaos and unpredictability is great because weight and balance change constantly.
Dealing directly with bow technique while practicing addresses the problem squarely, and
teaches that, while concert nerves may come and go, strong and knowledgeable technique stays
forever. Its not surprising that the bow becomes more vulnerable when a player feels nervous,
since multiple accents, different strings, and changes of articulations cause quite a few jolts.
What a tribute to the human mind that we can maneuver so well around the strings most of the
time.
Further Resources
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Divisions and Subdivisions
The eminent leader of the Yale and New Music Quartets, Broadus Erle, taught a bowing
technique called parlando that makes use of the full bow while making ever-so-gentle accents
along the way. Literally meaning speaking or articulating, parlando translates into a bow
arm that ebbs and flows with the string. (Its often associated with Fritz Kreislers style of
playing.)
Try it yourself: as you move the bow from frog to tip and make slight accents along the way,
keep a steady momentum so that the bow doesnt waver at any point. A passive, vague bow
speed will give the bow a moment of doubt, and bouncing and trembling may become its only
outlet.
The most likely place for the bow to bounce is in the middle, because its the transition point as
the arm transfers its weight from the frog to the tip. A simple remedy is to slightly increase the
momentum before any moment of wavering. This will make up for the loss of speed during the
wavering and keep the contact consistent between the hair and the string.
To avoid a bouncing bow, rethink your bow-arm mechanics so that the frog, middle, and tip are
connected in a seamless path.
Parlando is a wonderful exercise for knowing where the bow is at any given moment. The
moment you lose bow consciousness, the bow may bounce, scratch, or veer off course. This
technique can help synchronize rhythm, dynamics, and the art of anticipation.
Mixed Messages
While the bow arm can be endlessly analyzed, both by teachers and physiologists, the most
successful bow arms look remarkably simple. They depend on the musicians personal
awareness of how the hand and arm work.
If there is a unified arm movement with a natural transfer of weight over the four strings, there
wont be any sudden conflicting movements. Make sure all the movements of the hand
cooperate in tandem with the wrist.
Son fil, a bow exercise from the late 18th century, highlights both a spinning sound and the
bow moving at various speeds. It develops the relationship between a fully vibrating string and
the steady movement of the arm. It is usually practiced at a very slow speed, but you can play it
with various speeds and dynamics (my apologies to all son fil purists) to simulate what actually
happens in music.
To practice the son fil bow stroke, try playing long sustained notes slowly on open strings, and
then on scales. Work on slowing the bow speed down more and more, and pay attention to the
tone and quality of the sound you are producing.
Try to adjust your right hand and fingers as necessary to continue producing an even, resonant,
connected sound.
By following four guidelines, youll avoid the pitfalls that cause the bow to bounce.
1. Allow your fingers to be flexible so they cushion the contact between the hair and the
string. Remind yourself that a bow moving on a vibrating string needs shock absorbers.
2. The bow speed should be fast enough to catch the momentum of the moving phrase.
Anticipating the next movement of the bow is a good sign that you will anticipate the next
bump.
3. As you vary the bow speed and weight, make the changes in an obvious and forthright
manner. A bow change thats too subtle and tentative may give mixed messages to the bow. As a
result, the bow kicks away from the string.
4. When you change strings, make sure the whole bow arm, including the fingers, is at the
correct angle to engage the string. If part of the bow arm is still balanced on the preceding
string, there will be some temporary confusion for the bow.
After all is said and done, theres no question that a well-balanced bow is a lot easier to
maneuver. Theres no reason to use a bow thats awkwardly weighted in one direction and that
has a mind of its own. By developing a more secure bow technique, however, you can make any
bow stay on a steady course.
A Guide to Buying a Bow

MARCH 13, 2004
by Richard Ward
Choosing a bow can be a daunting task, given the multitude of products on the market. Here are
several simple points to consider when, checkbook in hand, you venture off to visit your local
dealer in search of the perfect stick to suit your needs.
If youre a beginner with limited technical skills, you make few demands of your bow. It isnt
likely that youll yet need the qualities of a fine and expensive bow. For now, you simply need a
bow with a reasonably strong stick and a good camber (curve); a bow thats not too heavy or
light and with a proper balance. As your skills increase, however, so do your demands on the
bow and hopefully your ability to recognize the differences.
The best way to describe the best bow for any player is simply this: When you are performing,
you dont have to think about it. A good bow should become an extension of your right hand. It
should flow with you as you play with little effort or thought. When you pick up a fine French
bow perhaps a Peccatte or a Voirin or a well-made modern bow, you can instantly feel that
the bow has the power to perform better, giving you more confidence and allowing you to play
with less effort. So, if you fail in your bowing technique, its due to your own lack of skill or
preparation and not the bows fault.
Before you start your quest for a bow, there are a few things you should know about the
selection process.
Types of Materials
The three basic materials used in bow sticks are brazilwood, pernambuco, and carbon fiber.
Brazilwood is a generic name given to several kinds of tropical hardwoods used for inexpensive
bows. It comes from Brazil as well as other tropical countries. Brazilwood violin bows are
normally priced between about $50 and $200 and are suitable for beginning or possibly early
intermediate players.
Since the late 18th century, pernambuco has been the wood of choice for the best bows. Its a
dense, heavy wood that comes from several areas in Brazil and seems to possess just the right
combination of strength, elasticity, and responsiveness. There are many subspecies and
enormous variation in quality. Top master bow makers will spend a great deal of time looking
for and choosing only the very best pernambuco sticks, rejecting most everything else. Due to
environmental degradation, pernambuco is now scarce, and as a result, the government of Brazil
has put severe restrictions on the export of this wood, making it rare and expensive.
The lack of available pernambuco may be responsible for the quality of products on the bow
market. Many players consider the work of the great 19th-century French makers as the ultimate
bows. Why have the later makers not been able to equal their work? Some say that the species
of pernambuco used by their predecessors no longer exists and that it became extinct at the
beginning of the 20th century. Others feel that makers like Tourte, Peccatte, Simon, Pajot, and
their contemporaries were simply the best makers. Certainly their bows are unique. Many have
a smooth, supple quality that makes the bow almost part of your hand; the sound these bows
produce can be full and rich. More than once, Ive heard the phrase smooth as butter in
describing a fine old French bow. However, other players prefer modern bows that are stiffer,
stronger, and quicker in response.
Within the last 20 years, carbon-fiber bows have become popular, in part because of the
shortage of pernambuco. Carbon-fiber bows manufactured from various grades of carbon fiber
bonded with a resin possess many of the qualities of pernambuco. Carbon fiber is also
durable, and at its price range represents a good value.
Fiberglass has also been used for inexpensive bows sometimes found with the lowest-priced
student instruments. Their main advantage is durability and affordability.
Regardless of the material you select, all bows share certain considerations when it comes to
their playability.
Sound
Inexperienced players are often surprised at how different bows can create different sounds on
their instruments. These differences are subtle and can be clearly heard by the player under the
ear, but can sometimes be heard by the audience as well. The esteemed American bow maker
Morgan Andersen tells us that a suppler bow will have a smoother, fuller sound. However, if the
stick is too soft, the sound can lack clarity and definition. A stiffer, stronger bow will give a
brighter, more focused sound. Sometimes, an overly stiff bow can produce a rough, edgy sound.
Its difficult to find a bow that will give both a smooth broad sound and at the same time have
great clarity of focus and the quickness of response that comes from a stronger, stiffer bow.
Weight and Balance
The average weight of a violin bow is about 60 grams (a viola bow is 70 grams; a cello bow, 80
grams). But remember, this is only an average. Many bows by the great makers of the past
weigh as little as 54 grams and yet play beautifully. On the other hand, a 66- or 68-gram violin
bow would be too heavy for almost anyone. Proper balance is far more important than weight. I
know players who wont even look at a bow if it doesnt weigh 60 grams. By holding to this
standard, they are missing out on some great bows. If a bow feels right in your hand, it
probably is right. I will often pick up a bow and hold it at a 45-degree angle. A bow should feel
natural in the hand well balanced from tip to frog with equal weight throughout.
Round or Octagonal?
The great French master makers rarely made octagonal bows. Even today, most top makers
produce predominantly round bows. Yet, as an instrument dealer, I sometimes have players who
only want to look at octagonal bows. With two bows made from the same wood, the octagonal
shaft will be stiffer. Some octagonal bows are quite stiff, creating a hard, one-dimensional tone,
lacking nuance. Some of the German commercial-bow producers make a round and octagonal
version of the same bow, the octagonal being a bit more expensive. I think this has added to the
myth that octagonal bows are better.
In the Shop
So how should you go about finding the best bow? The first step is to establish a budget, but do
expect to look at bows that are a little more expensive. If you dont know much about bows, I
suggest you try lots of bows to educate yourself about what is available.
When you go to a shop, be sure to bring your own violin and current bow with you as a
benchmark. Each bow will perform differently on different instruments, so remember that
youre looking for a bow that complements your violin. I normally show six bows at a time.
Once youve chosen one or two from that batch, ask to see some more. Play the same very brief
passage with each bow, one right after another. Theres a good chance that one or two will stand
out.
First impressions are very important. The bow shouldnt seem too light or heavy in the hand. It
shouldnt be too weak or soft: It shouldnt collapse easily on the hair when playing, or flex too
much laterally. And it should be straight when viewed down the stick.
Play a combination of bowing styles, including legato, spiccato, sautill, and so on. When I try
bows, I often use Wieniawskis Etudes-Caprices Op. 18, No. 4, to give me an idea of how the
bow performs in difficult, rapid string-crossing passages. If thats too difficult, use some of the
Sevcik bowing exercises. Play a passage near the frog, in the middle, and near the tip. You
should be able to play comfortably with all parts of the bow. Playing slowly, listen to the sound
each bow produces and feel how the bow handles. Youll notice subtle differences in clarity,
fullness of sound, surface noise, and so on. Does the bow enhance or detract from your
instrument?
While youre in the shop, use your time efficiently. Youre there to find a bow, not to perform or
practice. Once youve picked out the two or three bows you prefer, ask to test them out for a
week. Try them more extensively at home, in your ensemble or orchestra, and show them to
your teacher for comments. If your teachers suggestions are important to you, be sure that they
are available within the week. However, showing the bows to too many other players will only
confuse you. Everyone will probably have a different opinion and those opinions may not be
helpful.
Remember, the bow will be yours, not theirs. You should make the final decision.
The Differences Between Dark and Amber Rosin

JANUARY 5, 2004
Deciphering what it is, how its made, and which one is right for you
By Heather K. Scott
Rosin, the ubiquitous accessory for any stringed-instrument player is actually a bit of a mystery
to most musicians. Few know how its made, how it works, and which types or grades are best
for their instruments. Standing in front of the accessory counter at your local violin shop and
trying to pick out a cake or box of rosin is a bit like standing in front of the bar at your local
pub: Do you choose dark or amber, winter or summer?
To help decode the mystery, here is some valuable information on that little box of rosin hiding
in your instrument cases accessory compartment.
What Is Rosin Exactly?
Rosincolophon or colophony, as it is known to luthiersis a resin collected from one of 110
different types of pine tree throughout Europe, Asia, North America, and New Zealand. The
name colophony harkens back to the ancient city of Colophon in Lydia, which produced a high-
grade of resin originally used to create smoke for both medical and magical procedures.
Rosin is drawn directly from living trees in a tapping processin much the same way that maple
syrup is collected (the process in no way harms the tree). First, a small area of the trees outer
bark is removed. Then the tree is fitted with a drip channel and collection container. Finally, the
tree is cut with V-shaped grooves about 1 cm (.39 inch) wide just above the drip channel. These
marks induce the flow of resin into the container (the cuts must be renewed every five days or
so to ensure the continuous flow of tree resin).
After the resin is collected, it is sometimes mixed with other tree sapsusually from larches,
spruces, or firsto create a specialized formula (rosin makers are as secretive about their
individual recipes as violin makers are with varnish). 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 for about 30 minutes, the rosin is smoothed down
and polished. Rosin is packed into a swath of cloth or fitted into a tight-sealing container.
The color of rosin is dictated by the time of year during which 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.
How Rosin Works
The first impression that I always have to work with is that bow hair has scales on it that grab
the string and make it vibrate, which is not at all the case, says renowned acoustics expert
Norman Pickering in a recent chat with Stringsauthor James McKean (read our
November/December 2003 Shop Visit for the full story). It is the adhesion of the sticky rosin
between the bow hair and the string that makes it work. The bow pulls the string in the direction
of the bow motion until the adhesion breaksyou get to the point where it cant pull anymore.
The string snaps back and vibrates at whatever frequency its tuned to.
Choosing & Using Rosin

When purchasing rosin, first sort out whether youre looking for a student- or professional-
grade product. Student-grade rosin is cheaper, often has a grittier sound, and produces more
powder than the professional grades. For some players, such as fiddlers, this is a plus. But
classical players may find that the higher-priced professional-grade rosins better fit their needs.
Professional-grade rosin is created from a purer resin and generally produces a smoother, more
controlled tone.
Next, decide between light, or amber, and dark rosinsometimes also defined as summer (light)
and winter (dark) rosin. Dark rosin is softer and is usually too sticky for hot and humid weather
it is better suited to cool, dry climates. Since light rosin is harder and not as sticky as its
darker counterpart, it is also preferable for the higher strings. [Any type of] rosinexcept for
bass rosin, which is much, much softer and would make a mess on a violin bowpretty much
works on any instrument, says Richard Ward of Ifshin Violins in Berkeley, California. Lighter
rosins tend to be harder and more densea good fit for violin and viola. Darker, softer rosins
are generally preferred by the lower strings.
Some companies also add precious metals to their recipesanother choice to consider when
shopping for rosin. It is not uncommon to see gold, silver, lead-silver, and copper added to
rosin. These materials purportedly increase the rosins static friction, creating different tonal
qualities.
Gold rosin is said to produce a warm, clear tone and is appropriate for all instruments. The
addition of gold to the rosin mixture can soften a harsh-sounding instrument. Solo performers
often find that gold rosin helps them produce a clearer, more defined tone.
Silver rosin creates a concentrated, bright tone and is especially good for performance in higher
positions. It is best suited for the violin or viola.
Lead-silver rosin is well-suited for both the violin and viola and is a soft but nontacky rosin. It
enhances warmth and clarity, producing a fresh playing tone.
Copper is the most defined of all the rosin additives. These rosins can help make playing easier
for a beginner (and are said to be the best for 1/2- and 3/4-size instruments). Copper creates a
very warm, almost velvety-soft tone. This rosin is also popular among gamba players.
Boxed vs. Cake Rosin
Rosin comes in either box or cake form. Boxed rosin is generally priced lower than cake rosin
and comes in clear to amber colors. It is a universal rosin, and can be used for any stringed
instrument (excluding bass), in any season. Boxed rosin is advantageous for student players
using nonhorsehair bows. One advantage of boxed rosin is its durable qualityits far less
prone to cracking and breaking. However, if you arent careful when applying it you can catch
the box on your bow hairs. Cake rosin tends to be a higher-quality, more pure rosin. It is
available in amber to solid black colors (and in both summer and winter mixtures).
The powder created from rosin application is sometimes irritating to players. To combat rosin
allergies, some companies also now offer hypoallergenic rosin. This clear, powder-free
alternative is found predominantly in cake form and creates no residue or powder when used.
No matter which rosin you choose, use it sparingly. A lot of people use way too much rosin
you dont really need to apply rosin each time you play; once every four or five times is more
than enough. If you need to rosin so often, your bow probably needs a good rehair, says Ward.
To prevent rosin buildup from damaging your instrument, keep a soft cloth in your instrument
case and thoroughly clean your strings, your instrument, and the stick of your bow after each
time you play.
Artist Blog: Caeli Smith on Recording Your Playing

NOVEMBER 17, 2016
By Caeli Smith
Heres an unpleasant scenario that every musician is familiar with: You sit down to
listen to a recording of a recent concert, expecting the tape to recreate your performance
as you remember it. But while listening, you find yourself distracted by stuff
you dont remember. Why are my runs so uneven? Why does that sound so
uninspired? What happened to the enormous, exciting climax?
Why are we musicians often surprised, and disappointed, by how we sound? While
playing, it can be hard to be aware of exactly what sounds youre making. Maybe
youre distracted by the complicated mechanics of your fingers, or maybe the music
sounds different under your ears. In the moment, while youre playing, its hard to hear
objectively.
Although it can be painful, recording is an important and necessary part of any

musicians life. We make tapes to send to festivals, competitions, and schools. Choosing
which recording to use can be a grueling tasknone that you make will be perfect, and
the more you listen to them, the more flaws you will discover. What a demoralizing
process. Coming to terms with how you really sound is never easy.
I used to be hesitant to record myself during practice sessions. Not only was I afraid of
the outcome, I was also worried that by recording myself I was somehow cheating.
What about the great musicians of the past? David Oistrakh and Nathan Milstein didnt
have the luxury of popping in their earbuds and listening to snippets of the Bach lesson
they recorded on their iPhones.
But eventually, I decided that the more information I had about my playing, the better. I
began to record large chunks of my practice sessions, even my scales. At first I would
wince during playback, as I realized how many details Id allowed to slip by. But these
hours of discomfort paid off surprisingly quickly. After a few days of recording, I began
to hear these problems as I was playing. I would notice uneven string crossings and
indelicate phrase endings before I had even played back the recording. I realized that the
act of recording myself was actually improving my listening in general.
To be a good musician, you must be a good listener. We need to be sensitive to every

small detail of our playing and know exactly what it is we want to do with our music. In
my experience, nothing else, not even advice from a trusted teacher, is as revealing as
listening to myself play. Recording enlightens me to sounds that I dont want to make,
and helps me realize when what I want to express isnt coming across. These days, I
continue to record much of my practicemaking me a better listener, and a better
musician.
How to Select the Right Chin Rest for Violin or Viola

NOVEMBER 1, 2010
Getting the right fit for this small accessory can make a big difference
by Lynne Deing
Ask string players why they chose their chin rest and many will reply that it came with
the violin or viola when they bought it. Unfortunately, many instruments are sold or
rented with chin rest models that fit relatively few people. But by playing with a generic
chin rest that works for someone else or came with the instrument, a player may
miss an opportunity to improve technically or to prevent physical problems.
In fact, a well-fitted chin rest can help to facilitate better posture and support of the
instrument in an ever-changing balancing act between the collarbone and left hand. But
ill-fitting chin rests can cause such problems as clenching and aches and pains as well as
sores, due to constant pressure of one small part of the chin rest against one part of the
neck.
Signs of Discomfort
Ill-fitting chin rests can cause players to look right and tilt their heads left while
simultaneously reaching forward with their heads, in order for the jawbone to secure the
instrument. These positions can cause neck aches, headaches, and other injuries as the
player compensates for the unnatural head position. In addition, rather than adjust the
setup of the instrument, players often adjust their technique in order to make the
instrument feel secure and minimize discomfort.
Other signs that the chin rest might not be the best fit are when players allow their
instrument to droop out of position or play with the chin positioned over the crossover
piece of a rest with the plate or cup to the left of the chin. In this instance, the
player is trying to use the crossover piece as a ridge to secure the instrument, probably
in response to a chin-rest shape that curves up from the players neck, such as the
popular Guarneri model.
So whats a player to do? The search for a good-fitting chin rest starts with a trip
to a violin shop. Finding a chin rest whose shape best suits you may require that you
play through many of the dozens of different types of rests. Also, specific models of
chin rests, but by different manufacturers, can have variations in shape. This is good in
that there are more shapes available to fit more jaws. But these factors make online
shopping impractical.
Here are some guidelines to help you find the best fit:
Jaw Shape & Neck Length

Chin rests that fit the two key dimensions of height and jaw shape can allow the head to
serve as a counterbalance to the weight of an extended bow arm. This balance can keep
the neck and shoulders healthy. The head will feel relaxed and players may say that they
have never felt so comfortable.
No two jaws are the same shape, but some jaw types match best with certain chin-rest
styles. For instance, round, fleshy jaws are the only ones suited to a flat plate and a long,
low ridge across the back of the chin rest. Rests with a higher ridge are favored by
players with a long, thin face, while the Brandt model is a comfortable fit for a variety
of jaw shapes.
A chin rest that exhibits a downward slope from the rear of the rest will direct the chin
pressure toward the neck, providing good leverage.
To avoid skin irritations created by the jawbone pressing on the ridge, the contour of the
chin-rest ridge should be lower under the ear and higher on the right side, fitting the
jawbone and pulling the instrument in while providing stability and a feeling of security.
The Right Height

The proper height for a chin rest is one that leaves a gap of about one finger-width
between the top of the rest and the jaw when the eyes are looking forward (and not
looking up or down). If one must nod down in an exaggerated fashion to touch the top
of the chin rest, it is too short. If the nod is too shallow, the chin rest is too high.
Heres a tip: a well-fitted chin rest can be raised to the right height by adding a riser or
lift made of cork. Depending on the density of the cork, a piece about 2 mm in height
can be glued to the bottom of a chin rest without destabilizing it. Other variations of
raised chin rests can be seen at chinrests.com and violinistinbalance.nl.
Flexibility & Placement

Another factor to consider when selecting the proper chin rest is the flexibility of the
left shoulder joint. Players who are flexible in this joint often prefer the chin rest placed
to the left of the tailpiece. A player who has less flexibility, or narrow shoulders, may
prefer a chin rest that reaches slightly over the tailpiece. Due to the breadth of the
instrument, violists, who must balance out the weight of the instrument, tend to prefer a
chin rest that extends slightly over the tailpiece.
Sound & Technique

A well-fitted chin rest adds a sense of security when shifting down or when performing
vibratotwo techniques that can cause a lot of insecurity. There also are health
benefits: with the proper chin rest, the bulk of the instruments weight is transferred to
the collarbone close to the spine, the bodys natural support system. The left collarbone
is then freed to move and static tension is avoidedoftentimes, with the proper chin
rest, a player may experience for the first time the sensation of being able to move the
left arm to the left and right. Also, because the weight is now close to the body, the
instrument feels lighter to the left arm and scroll height automatically improves.
There is one additional benefit to sound production: with the proper chin rest,
instrument placement on the collarbone next to the neck can allow the violin or viola to
create a more ringing sound.
Side Bar:
Note to the Teacher
Just because a chin rest fits you doesnt mean that same one will fit all of your students.
Students will play longer when theyre fitted with a proper chin rest, because a good-
fitting chin rest provides comfort and security. Also, a well-fitted chin rest can facilitate
fine technique and even longevity, because muscles that are not clenched, and playing
movements that are balanced, promote ease in playing.

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Photo by Michael Patrick O'Leary

A Guide to Buying a Bow

The Differences Between Dark and Amber Rosin

Choosing & Using Rosin

Artist Blog: Caeli Smith on Recording Your Playing

Although it can be painful, recording is an important and necessary part of any

To be a good musician, you must be a good listener. We need to be sensitive to every

How to Select the Right Chin Rest for Violin or Viola

Jaw Shape & Neck Length

The Right Height

Flexibility & Placement

Sound & Technique

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