Types of violins by sound. What types of violins are there? Unique musical instrument

04.11.2019

The violin is one of the most mysterious instruments

At first glance, this title is more suitable for a detective novel than a story about a musical instrument. But if you look at it, the word “mystery” is even more appropriate here, because in any detective story the mystery is eventually revealed, and the violin still remains a mysterious and largely incomprehensible instrument. Master Felix Robertovich Akopov said that the violin was luckier than the guitar: a precise and laconic design was found for it. That's true. But a proven design is only a starting point. What next? Both the Stradivarius violin, made three hundred years ago, and the modern mass-produced violin, made according to all the rules in a good factory, are similar in appearance. But what a difference in sound!

No other instrument has been studied as much, for as long and as thoroughly as the violin. People were doing it different professions: physicists, mathematicians, art historians, music experts, musicians. They understood and explained something, but so far no one has been able to theoretically substantiate the acoustics of the violin or at least give recommendations on how to make instruments as perfect as those made in the old days. There are still craftsmen who build violins that are not as beautiful as those made by Amati, Stradivari, and Guarneri, but still very good instruments. However, each master has only own experience and the little that he was able to understand from the experience of the great Italians. No one has complete knowledge. Anything mysterious inevitably becomes surrounded by rumors. The violin also gave rise to many legends. Let's start with them.

It is said that the famous Italian masters were deprived of the opportunity to enjoy the authentic sound of their violins, because immediately after production the violin sang completely differently from how it should have sung hundreds of years later. The masters, they say, were counting on the future; they knew in advance how wonderful their instruments would sound for distant descendants. They say, however, that the masters miscalculated something else: most of the instruments they made were not preserved for posterity. Miraculously, only a few of them survived, and only thanks to these few units does our age know the sound of real violins. They also say that every professional violinist dreams of playing the instrument of the most famous of Italian masters— Antonio Stradivari. But, of course, there are not enough violins for everyone. And the few remaining violins are awarded only to the best of the best. They say that a good violin was made only when the only suitable type of wood was used for each of its parts. For example, the top deck was made only from Tyrolean spruce. No other wood was suitable for it - the violin turned out to be unimportant. And not just any Tyrolean spruce was felled and put into use, but first they looked closely at which tree the birds would land on most. Then they listened to the tree with a stethoscope to finally make sure that it was sufficiently melodious. The tree was cut down only in winter, so that it would never fall, but would be carefully lowered to the ground. Then they chose a piece from the butt for the violin, and the rest of the trunk was used for firewood.

They say that the only possible shape of the violin was found accurate to tenths of a millimeter, and any deviation led to failure. They say that the violin had to be finished especially carefully, because it did not forgive the slightest negligence and took revenge in the most insidious way - it simply refused to sing. They say that an antique violin owes its beautiful sound primarily to the varnish with which it is coated. Only the head of the family of violin makers knew the secret of the varnish. He took this secret with him to the grave, not wanting to reveal it to his selfish and unhardworking sons. Therefore, they say, the sons could no longer make the same perfect violins that their fathers produced.

VIOLIN MUSIC

Violins began to be made in Cremona at the same time as in Brescia, and the founder of the Cremona school, Andrea Amati, was even older in age than Bertolotti and even more so Magini. We can talk about continuing the work of the Brescians only because the Cremonese most fully embodied the idea of the violin: the sound of this instrument was supposed to become a model of the human voice. This means that the timbre had to be deep, rich, warm, with many shades, and the character of the sound had to be flexible, capable of changing as desired from a quick, rough recitative to the most delicate singing. The violin, like the voice, had to be able to express any human feelings. Now we know that the masters brilliantly realized their plans. And it’s not for nothing that the violin is considered the most perfect instrument.

In addition, the Cremonese refined the design of the violin, and brought the form to amazing elegance. Some lovers of beauty can spend hours admiring an antique violin, the beauty of this instrument is so attractive. This is the main merit of such masters as Amati, Stradivari, Guarneri. And if in the future the sound of their instruments is surpassed in reality, and not in hasty newspaper notes, humanity will still not forget the true creators of the violin. Antonio Stradivari lived and worked a century later than Andrea Amati. And this century was very difficult for the violin. It was considered a fairground, tavern instrument. Viols were more common, and they reigned in bowed music. And who knows how long the violin would have remained an outcast if not for the wonderful performers who appreciated and chose it.

Here, of course, you remembered Paganini. Yes, he was a brilliant musician who significantly enriched the techniques of playing the violin and violin music in general. But Paganini was already creating in the heyday of the violin; he did not start from scratch. Long before him there were Arcangelo Corelli, almost the same age as Stradivari, and Giuseppe Tartini, and Jean-Marie Leclerc. Masters created instruments, and musicians created and performed music specific to this instrument, showing what a violin is capable of in in capable hands. The violin music was so skillful and expressive that the viols little by little gave way to it and disappeared. The victory of the violin is natural, but it is a pity that the rivalry between instruments often ended not in reconciliation, but in the complete defeat of one of the parties. They are also trying to revive Viola now, and from her rare performances one can judge that Viola was also good in the music written especially for her.

ASSUMPTIONS ABOUT THE UNIQUE SOUND OF THE VIOLIN

Well, okay, it's not about the varnish, not about the wood, not about the exact dimensions, not about special care. Then what? We don't know this. But we can assume something. Let's remember the famous saying that genius is talent multiplied by work. Andrea Amati, Nicolo Amati's grandfather, became the master's apprentice at the age of seven, and at eleven he was already making violins that have survived to this day. Antonio Stradivari began studying with Nicolo Amati at the age of twelve, made his first violin at thirteen, and then worked from dawn to dusk all his life. He died at ninety-three and shortly before his death he completed his last violin. And in total he made one and a half thousand instruments - this is a lot even for such a long life.

Other masters managed to do less, but they also devoted all their time to work. The more work, the more experience, and experience helped shape the voice of the instrument. The resonator of any stringed instrument is in this case violin body - unequally amplifies the frequencies emitted by the string. Apparently, this quality of the resonator was very skillfully used by the old masters: they sculpted the soundboards so skillfully and tuned them so finely that the body emphasized the frequencies necessary for the timbre and muffled the unnecessary ones.

Musical instrument: Violin

The violin is one of the most refined and sophisticated musical instruments, with a charming melodious timbre very similar to the human voice, but at the same time very expressive and virtuosic. It is no coincidence that the violin is given the role of “ orchestra queens».

The voice of a violin is similar to a human one; the verbs “sings” and “cries” are often used to describe it. It can bring tears of joy and sadness. The violinist plays on the strings of the soul of his listeners, acting through the strings of his powerful assistant. There is a belief that the sounds of a violin stop time and take you to another dimension.

History violins and read many interesting facts about this musical instrument on our page.

Sound

Expressive singing of the violin can convey the thoughts of the composer and the feelings of the characters operas And ballet more accurate and complete than all other tools. Juicy, soulful, elegant and assertive at the same time, the sound of the violin is the basis of any work where at least one of this instruments is used.

The timbre of the sound is determined by the quality of the instrument, the skill of the performer and the choice of strings. The bass ones are distinguished by a thick, rich, slightly strict and harsh sound. The middle strings have a soft, soulful sound, as if velvety, matte. The upper register sounds bright, sunny, ringing. The musical instrument and the performer have the ability to modify these sounds, add variety and an additional palette.

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Interesting facts

In 2003, Athira Krishna from India played the violin continuously for 32 hours as part of a festival in the city of Trivandrum, as a result of which he entered the Guinness Book of Records.
Playing the violin burns about 170 calories per hour.
Inventor of roller skates, Joseph Merlin, Belgian manufacturer of musical instruments. To introduce a new product, skates with metal wheels, he entered a costume ball in London in 1760, while playing the violin. The audience enthusiastically greeted the graceful gliding across the parquet to the accompaniment of a beautiful instrument. Inspired by success, the 25-year-old inventor began to spin faster, and full speed ahead crashed into an expensive mirror, breaking it into pieces, a violin and seriously injured himself. There were no brakes on his skates then.

In January 2007, the United States decided to conduct an experiment in which one of the brightest violin music performers, Joshua Bell, took part. The virtuoso went down to the subway and, like an ordinary street musician, played the Stradivarius violin for 45 minutes. Unfortunately, I had to admit that passers-by were not particularly interested in the brilliant playing of the violinist; everyone was driven on by the bustle big city. Only seven out of a thousand who passed during this time paid attention to famous musician and another 20 threw money.In total, $32 was earned during this time. Joshua Bell's concerts typically sell out, with an average ticket price of $100.
The largest ensemble of young violinists gathered at the stadium in Changhua (Taiwan) in 2011 and consisted of 4,645 school students aged 7 to 15 years.
Until 1750, violin strings were made from sheep intestines. The method was first proposed by the Italians.
The first work for violin was created at the end of 1620 by the composer Marini. It was called “Romanesca per violino solo e basso.”
Violinists and violin makers often try to create tiny instruments. So, in the south of China in the city of Guangzhou, a mini-violin was made, only 1 cm long. It took the master 7 years to complete this creation. Scotsman David Edwards, who played national orchestra, made a violin 1.5 cm long. Eric Meisner in 1973 created an instrument with a melodic sound 4.1 cm long.

There are craftsmen in the world who make stone violins that are not inferior in sound to their wooden counterparts. In Sweden, sculptor Lars Wiedenfalk, while decorating the facade of a building with diabase blocks, came up with the idea to make a violin from this stone, because surprisingly melodic sounds came out from under the chisel and hammer. He named his stone fiddle "Blackbird". The product turned out to be surprisingly jewelry-the thickness of the walls of the resonator box does not exceed 2.5 mm, the weight of the violin is 2 kg. In the Czech Republic, Jan Roerich made instruments from marble.
When writing the famous “Mona Lisa,” Leonardo da Vinci invited musicians to play strings, including the violin. At the same time, the music was different in character and timbre. Many consider the ambiguity of Gioconda’s smile (“the smile of either an angel or the devil”) to be a consequence of the variety of musical accompaniment.
The violin stimulates the brain. This fact has been confirmed more than once by famous scientists who knew how and enjoyed playing the violin. For example, Einstein played this instrument masterfully from the age of six. Even the famous Sherlock Holmes (collective image) always used its sounds when he was thinking about a complex problem.

Caprices are considered one of the most difficult pieces to perform. Nicolo Paganini and his other works, concerts Brahms , Tchaikovsky , Sibelius . And also the most mystical work - “ Devil's Sonata "(1713) G. Tartini, who was himself a virtuoso violinist,
Guarneri and Stradivarius violins are considered the most valuable in monetary terms. The highest price was paid for a Guarneri violin "Vieutang" in 2010. It was sold at auction in Chicago for $18,000,000. The most expensive Stradivarius violin is considered to be the “Lady Blunt”, and it was sold for almost 16 million dollars in 2011.
In Germany, the most big violin in the world. Its length is 4.2 meters, width 1.4 meters, bow length 5.2 meters. It is played by three people. This unique creation was created by craftsmen from Vogtland. This musical instrument is a scale copy of the violin of Johann Georg II Schonfelder, which was made at the end of the eighteenth century.
A violin bow usually has 150-200 hairs, which can be made of horsehair or nylon.
The price of some bows reaches tens of thousands of dollars at auctions. The most expensive bow is considered to be the work of master François Xavier Tourte, which is estimated at approximately $200,000.
Vanessa Mae is recognized as the youngest violinist to record violin concertos by Tchaikovsky And Beethoven at the age of 13. Vanessa-Mae made her debut with the London Philharmonic Orchestra at the age of 10 in 1989. At the age of 11, she became the youngest student at the Royal College of Music.

Episode from the opera " The Tale of Tsar Saltan » Rimsky-Korsakov “Flight of the Bumblebee” is technically difficult to perform and is played at high speed. Violinists all over the world organize competitions to see how fast they can perform this piece. So in 2007, D. Garrett entered the Guinness Book of Records, performing it in 1 minute and 6.56 seconds. Since then, many performers have been trying to overtake him and get the title of “the fastest violinist in the world.” Some were able to perform this piece faster, but at the same time it greatly lost in quality. For example, the Discovery channel considers the British Ben Lee, who performed “Flight of the Bumblebee” in 58.51 seconds, not only the fastest violinist, but also the fastest person in the world.

Popular works for violin

Camille Saint-Saens - Introduction and Rondo Capriccioso (listen)

Antonio Vivaldi: "The Seasons" - Summer Storm (listen)

Antonio Bazzini - "Round Dance of the Dwarves" (listen)

P. I. Tchaikovsky - "Waltz-Scherzo" (listen)

Jules Masne - "Meditation" (listen)

Maurice Ravel - "Gypsy" (listen)

J. S. Bach - “Chaconne” from the partita in d minor (listen)

Application and repertoire of the violin

Thanks to its varied timbre, the violin is used to convey different moods and characters. In a modern symphony orchestra, these instruments occupy almost a third of the composition. The violins in the orchestra are divided into 2 groups: one plays the upper voice or melody, the other plays the lower voice or accompanies. They are called first and second violins.

This musical instrument sounds great both in chamber ensembles and in solo performance. The violin easily harmonizes with wind instruments, piano and other strings. The most common of the ensembles is the string quartet, which includes 2 violins, cello And alto . A huge number of works from different eras and styles were written for the quartet.

Almost everything brilliant composers did not ignore the violin, composed concertos for violin and orchestra Mozart , Vivaldi, Tchaikovsky , Brahms, Dvorak , Khachaturian, Mendelssohn, Saint-Saens , Kreisler, Wieniawski and many others. The violin was also trusted with solo parts in concerts for several instruments. For example, at Bach is a concerto for violin, oboe and string ensemble, and Beethoven wrote a triple concerto for violin, cello, piano and orchestra.

In the 20th century, the violin began to be used in various modern directions music. The earliest mentions of the use of the violin as a solo instrument in jazz are documented in the first decades of the 20th century. One of the first jazz violinists was Joe Venuti, who performed with famous guitarist Eddie Lang.

The violin is assembled from more than 70 different wooden parts, but the main difficulty in manufacturing lies in the bending and processing of the wood. One piece can contain up to 6 different types of wood, and the craftsmen constantly experimented, using new options - poplar, pear, acacia, walnut. The best material is considered to be wood that grew in the mountains, due to its resistance to changes in temperature and moisture. Strings are made of veins, silk or metal. Most often the master makes:

Resonant spruce top.
Neck, back, scroll made of maple.
Hoops made of coniferous, alder, linden, mahogany.
Coniferous patches.
Ebony neck.
Chinrest, pegs, button, rest made of boxwood, ebony or rosewood.

Sometimes the master uses other types of wood or changes the options presented above at his discretion. The classical orchestral violin has 4 strings: from “basque” (G of the small octave) to “fifth” (E of the second octave). Some models may add a fifth alto string.

Different schools of craftsmen are identified by klotz, hoops and curls. The curl especially stands out. It can be figuratively called “the author’s painting.”

The varnish with which wooden parts are coated is of considerable importance. It gives the product a shade ranging from golden to very dark with a reddish or brown tint. The varnish determines how long the instrument will “live” and whether its sound will remain unchanged.

Do you know that the violin is shrouded in many legends and myths? Even at the music school, children are told an old legend about the Cremonese master and wizard. For a long time they tried to unravel the secret of the sound of the instruments of famous Italian masters. It is believed that the answer lies in a special coating - varnish, which was even washed off a Stradivarius violin to prove this, but all in vain.

The violin is usually played with a bow, except for pizzicato, which is performed by plucking the string. The bow has a wooden base and horsehair stretched tightly over it, which is rubbed with rosin before playing. It is usually 75 cm long and weighs 60 grams.

Currently, you can find several types of this instrument - a wooden (acoustic) and an electric violin, the sound of which we hear thanks to a special amplifier. One thing remains unchanged - the amazingly soft, melodious and mesmerizing sound of this musical instrument with its beauty and melody.

Dimensions

In addition to the standard full-size whole violin (4/4), there are smaller instruments available for children to learn. The violin “grows” with the student. They begin training with the smallest violins (1/32, 1/16, 1/8), the length of which is 32-43 cm.

Dimensions of a complete violin: length - 60 cm. Body length - 35.5 cm, weight about 300 - 400 grams.

Techniques for playing the violin

The violin vibration is famous, which penetrates the soul of listeners with a rich wave of sound. The musician can only slightly raise and lower the sounds, introducing even greater variety and breadth of the sound palette into the musical range. The glissando technique is also known; this manner of playing allows the use of the absence of frets on the neck.

By not pressing the string too hard, just touching it, the violinist produces original cold, whistling sounds, reminiscent of the sound of a flute (flajolet). There are harmonics that involve 2 fingers of the performer, placed a fourth or fifth from each other; they are especially difficult to perform. The highest category of skill is considered to be the performance of harmonics at a fast pace.

Violinists also use the following interesting playing techniques:

Col Legno - striking the strings with a bow cane. This technique is used in "Dance of Death" by Saint-Saëns to simulate the sound of dancing skeletons.
Sul ponticello - playing with a bow on a stand gives an ominous, hissing sound characteristic of negative characters.
Sul tasto - playing with a bow on the fingerboard. Produces a gentle, ethereal sound.
Ricochet - performed by throwing the bow onto the string with a free rebound.

Another technique is to use a mute. This is a comb made of wood or metal that reduces string vibration. Thanks to the mute, the violin produces soft, muffled sounds. A similar technique is often used to perform lyrical, emotional moments.

On the violin you can play double notes, chords, and perform polyphonic works, but most often its many-sided voice is used for solo parts, since the huge variety of sounds and their shades is its main advantage.

History of the violin

Until recently, it was generally accepted that the ancestor of the violin viola , however, it has been proven that these are two completely different tools. Their development in the XIV-XV centuries proceeded in parallel. If the viola belonged to the aristocratic class, then the violin came from the people. It was mainly played by peasants, traveling artists, and minstrels.

This unusually diverse sounding instrument can be called its predecessors: the Indian lyre, the Polish violin (rebeka), the Russian violin, the Arab rebab, the British mole, the Kazakh kobyz, and the Spanish fidel. All of these instruments could be the progenitors of the violin, since each of them served as the origin of the string family and endowed them with its own merits.

Introduction of the violin to high society and the inclusion of aristocratic instruments dates back to 1560, when Charles IX ordered 24 violins from the string maker Amati for his palace musicians. One of them has survived to this day. This is the oldest violin in the world, it is called “Charles IX”.

The creation of violins in the form in which we see them now is disputed by two houses: Andrea Amati and Gasparo de Solo. Some sources claim that the palm should be given to Gasparo Bertolotti (Amati's teacher), whose musical instruments were later perfected by the house of Amati. All that is known for certain is that this happened in Italy in the 16th century. Their successors a little later were Guarneri and Stradivari, who slightly increased the size of the violin body and made larger holes (f-holes) for a more powerful sound of the instrument.

At the end of the 17th century, the British tried to add frets to the design of the violin and created a school for teaching how to play a similar instrument. However, due to a significant loss in sound, this idea was quickly abandoned. The most ardent supporters of the free style of playing with a clean fingerboard were virtuoso violinists: Paganini, Lolli, Tartini and most composers, especially Vivaldi.

Video: listen to the violin

A child’s studies at a music school always require some parental knowledge in matters of choosing a musical instrument. When it comes time to go to the store to buy one, the first question parents ask is: violins?

Certainly, win-win- choose an instrument with a teacher. He will be able to evaluate the violin in all respects and choose the best one on display, because even mediocre factory instruments can differ greatly from each other. However, such an opportunity does not always happen, and then parents should prepare a little in the theoretical part, because in fact, everything is not as difficult as it seems.

Terminology

The size of a violin in centimeters can vary between different manufacturers, this applies to both factory and craftsman instruments, however, there are global standards, so here you need to arm yourself with a ruler or a centimeter. But first of all, let's understand the concepts of “half”, “quarter”, “whole”, etc. A 4/4 violin (four quarters) is called a whole, this is an adult violin. Instruments that are smaller in size are called, for example, “half” (i.e., half of a whole or 1/2), “quarter” - 1/4, “eight” - 1/8. These established names came from the notes, respectively, whole, half, quarter and eighth, but the intermediate sizes did not receive such nicknames.

How to determine the size of a violin

To find out what size a violin is, you need to measure it using two parameters:

Length from the curl (head) to the bottom of the body (excluding the button, the part on which the headstock is attached).
Length from the shoulder (the part where the neck ends on the back of the violin) to the bottom of the soundboard (excluding the length of the “heel” that protrudes from the back where the neck meets the soundboard).

These measurements will help determine the size of the violin:

the ratio 60 cm/35 cm corresponds to a whole violin;
57.2 cm / 34.4 cm - size 7/8;
53.3 cm / 33 cm - size 3/4;
52 cm / 31.7 cm - size 1/2;
48.25 cm / 28 cm - size 1/4;
43 cm /25 cm - size 1/8;
40.6 cm / 22.9 cm - size 1/10;
36.8 cm / 20.3 cm - size 1/16;
32 cm /19 cm - size 1/32.

However, it should be borne in mind that sometimes the difference in the size of entire violins between some manufacturers or different models can reach two centimeters. But the width of the soundboard does not matter at all and often differs not only among different masters, but also among factory instruments of different models, which often repeat the proportions of some famous master violins, for example Stradivarius or Guarneri.

Violin sizes by age

The individual characteristics of the student can influence the required violin size, either up or down. Sometimes even an adult can, due to his physical characteristics, play the 7/8 violin, but, as a rule, a child’s violin should be changed every 2 years.

Size/age correspondence table

We offer you a table from which you can roughly determine what age certain violin sizes correspond to:

1/32 - from 1 year to 3 years.
1/16 - from 3 to 5 years.
1/10 - 4-5 years.
1/8 - 4-6 years.
1/4 - 5-7 years.
1/2 - 7-9 years.
3/4 - 9-12 years.
7/8 - 11 years and adults with small hands.
4/4 - 11-12 years and adults.

It should be taken into account that such ratios may vary.

If there is no ruler, but the child is

However, in order to correctly select the size of a violin for a child, it is not necessary to take exact measurements; there is a much simpler way. It is necessary for the young musician to pull out left hand slightly to the side, without straining, then place the violin on your left shoulder. If the violin is the right size, its head (curl) will be exactly in the center of the palm, and your fingers will grasp the curl without tension.

This should be done if you were unable to consult with a teacher before purchasing, or if the child has some special features (for example, he is quite tall or small for his age).

Tool change

So, how do you know that a child has outgrown his violin? It is enough to carry out the simple manipulation given above every year. If the head of the violin rests on the beginning of the palm or even on the hand itself, it’s time to switch to a larger size.

Often teachers exchange and sell instruments between their students, which is very profitable. In addition, in some workshops there is a practice when a violin purchased from them is exchanged with an additional payment for a used one. O the largest one, which is also very convenient, so you shouldn’t assume that teaching a child to play the strings is associated with serious expenses. The market is flooded now a huge amount Chinese instruments, which may not be very good, but they are cheap.

There is one more nuance: sometimes you can take a violin a little larger than required. This applies to the so-called intermediate sizes, especially size 7/8, because, depending on the growth rate of the child, this instrument will require replacement after 3-9 months.

However, there is a second caveat: it is easier to play a smaller violin, so you should not take a violin two or three sizes larger. This leads to hand clamps and inevitable muscle strain. This may still be somehow justified if the child rarely studies at home or does not study at all. Therefore, get ready for the fact that if you save on an instrument, buying it “for growth”, you will most likely cause a complete aversion to practicing in your child, because they will be associated not only with constant discomfort, but even pain (if played for a long time). Consider whether it is worth saving when there is a large selection of budget models on the musical instrument market; you can also look for options in violin workshops.

There is an opinion that a smaller violin sounds worse and quieter than a whole one. In most cases this is true, but only applies to factory tools. Many workshops make good violins in size 7/8, which are in no way inferior to whole ones, so if you have small hands, there is no need to “struggle” with a whole violin; now you can choose a concert version of an intermediate size.

Questions about bows

Choosing a bow is a second, but no less important task. A bow that is too short will inevitably lead to psychological tension and severe fatigue of the right hand (the student will instinctively restrain the movement, knowing that the bow is short). An overly long bow is also not suitable, although if it is not possible to take the required size, then the best option would be to “grow”, but this is an extreme case, and everything should be agreed upon with the teacher. In addition, the student's bow should not be too heavy. A wrong choice can affect not only the position of the hands, but also the health of the student.

How to choose a bow for sure

The dimensions of violin bows follow the same rules as the dimensions of the instrument itself.

The ruler will again help in choosing, but now it’s the student’s turn to measure. The length of the arm from the shoulder to the hand is a true guide in this matter, but do not forget that this only applies to children; adults play with a 4/4 bow:

1/32 - less than 35.5 cm;
1/16 - 35.5 cm;
1/10 - 38 cm;
1/8 - 42 cm;
1/4 - 45.7-47 cm;
1/2 - 50.8 cm;
3/4 - 54.6-56 cm;
7/8 - 56 cm with small hands;
4/4 - 58 cm and more.

In addition, you can no less accurately determine the appropriate size in practice. You need to place the bow on the string with the upper end, while the elbow should be straightened without tension. If the size is small, right hand will not bend to the end, and if it is too big, the right hand will be placed behind the back without bringing the bow to the end.

Why is it important to choose the right size?

If something is small or large, it looks sloppy, but nothing more. But the correctly selected size of the violin is the first step in mastering a difficult art, because if it turns out to be larger or smaller than required, it will be difficult for the student not only to maintain the correct position of the hands, but also to understand it.

All actions when playing should be brought to the point of automaticity and at the same time not cause discomfort, which is impossible with an incorrectly selected instrument.

more violin

Alternative descriptions

. (Italian alto - literally - high), part in a choir, performed by low children's or women's voices

Instrument from the Krylov quartet

Musical instrument by Yuri Bashmet

Intermediate stage between violin and cello

A variety of some orchestral musical instruments

Big violin

. "nasal" violin

Bowed string instrument

Bass of a young choir singer

Played this musical instrument main character stories by Vladimir Orlov

Bowed musical instrument

The smaller brother of the double bass

Yuri Bashmet's instrument

Violin's Big Brother

Overgrown violin

Between soprano and tenor

Bowed instrument

Bashmet's violin

Soprano, ..., tenor, bass

More violin

One of the bowed

Bowed “middle”

Middle of the string trio

Direct descendant of viola

Instrument in a violin quartet

Musical instrument

Treble, ..., tenor

Between tenor and treble

Above tenor

Big Buddy Violin

. "eldest" of the violins

Violin by Yuri Bashmet

Less cello

The oldest of the violins

Violin in lower register

Danilov's instrument

Bashmet musical instrument

A little more than a violin

Female bass

A little older violin

Female contralto

Between violin and cello

Violin-shaped instrument

Boyish "bass"

Little more than a violin

Violin type instrument

Violin double

Variety of saxophone

Stringed musical instrument

German mechanic and engineer, one of the founders of the geometric method of synthesis of mechanisms (1889-1954)

. "Nasly" violin

. "Elder" of violins

Anagram for the word "tal"

Big brother of the violin

Children's basque

M. Italian voice between treble and tenor; short female voice, type of violin, second, viola; it is larger than a violin, with a decrease in the thin string and an increase in the bass. Alto clef, note, between treble and bass. Alto voice, low, close to alto. Violist m. violist female who sings or plays viola. Altana f. zap. belvedere, gazebo, tower, tower. Altimetry, part of trigonometry, the science of measuring heights

Boyish "bass"

The oldest of the violins

Violin

Bowed "middle"

Quarter violin quartet

A jumble of letters from the word "tal"

The violin, as the most common bowed string instrument, is not without reason called the “queen of the orchestra.” And not only the fact that there are about a hundred musicians in a large symphony orchestra, and one third of them are violinists, confirms this. The expressiveness, warmth and tenderness of its timbre, melodiousness of sound, as well as enormous performance capabilities rightfully give the violin a leading position both in a symphony orchestra and in solo practice.

It is extremely important to find a decent violin even for the initial stage of learning, because good tool is a great help on the path to becoming a professional musician. It's no secret that playing music requires a lot of dedication and hard work. A responsive and easy-to-use instrument that has a beautiful timbre not only creates conditions for more productive practice, but also increases interest in music.

The founders of the Tononi company, music teachers Yi-Ru Köhler-Chen and Tobias Köhler, while teaching at various music schools, were often surprised how many students played bad instruments. The musicians approached this problem constructively - they began creating string instruments, which would not only meet high requirements, but would also be accessible to most students.

Before the instrument is released for sale, the violin is tested: the pegs are lubricated, the strings are tensioned, the position of the bridge and stand is adjusted, and the string tension is checked. Then the instrument is tuned and trial playing takes place. If necessary, further adjustments are made. Only after such a thorough check is the violin sent to the buyer or store.

The main violin maker and consultant of the Tononi company today is Otto Felix Krupp. He also produces high-quality craftsman's instruments to order under the Tononi brand. Before collaborating with Tononi in 2010, Kruppa had his own workshop in Duisburg, and before that he studied bow instrument making in Cologne and Düsseldorf.

The Tononi violin line is extensive and includes instruments different levels- both in price and in purpose. It may seem that the information about the Tononi violin series presented in this review is too laconic and even scarce. Don't let this impression bother you. As often happens, masters do not reveal all their secrets.

The 100 and 300 series violins (previously 1000 and 3000, respectively) are intended for beginning players. Smooth throughout the entire range, pleasant sound is born thanks to high-quality materials and competent technologies. The 100 Series violins are distinguished by the evenness of the top color and the smoothness of the wood grain. Series 300 has a more pronounced material texture. In addition, it is made according to different patterns and differs slightly in size to a smaller extent. However, this does not deprive the instrument of a voluminous, rich sound.

The 520 series (formerly 5200) is aimed at discerning advanced musicians, including intermediate and advanced music students. It was created by a team of leading violin manufacturers who regularly consulted with concert musicians, teachers and students. As a result, taking into account all the wishes down to the smallest detail, this line of violins was developed. The instruments have a semi-matte finish, which gives an antique appearance. Often it is the interesting appearance that first attracts attention when choosing a tool.

Series 920 (formerly 9200) The violin is crafted from carefully selected wood. Modern factory technologies are based on the traditions of creating craftsman's tools. The violins are responsive and meet the high demands of musicians. In the 920th model, under the noble glossy shine of the varnish, a deep and rich wood tone is visible, which shimmers various shades from honey to golden brown.

Series 950 (formerly 9500) This is the top model of violins from the German manufacturer. Each tononi violin in the 950 series is unique and is finished by hand in the company's workshop in Münster. The original stand from France and professional strings provide a strong, bright sound. Alcohol varnish, also applied by hand, gives the instrument a warm, expressive timbre. The model has a pronounced wood grain texture. The level of professionalism displayed in the production of 950 series instruments approaches that of craftsman's instruments. When in the hands of a professional violinist or luthier, a violin invariably receives high praise for its workmanship and sound characteristics.

A few questions for the violin maker.

Oleg Tsolakovich Muradyan, string master bowed instruments Mikhailovsky Theater for more than 20 years, currently – master of the City Palace of Youth Creativity.

There is an opinion that every professional violinist dreams of owning a Stradivarius violin. For a long time, mathematicians, physicists, and tuners studied in detail the sound of this master’s violins, but were never able to theoretically substantiate their unique acoustics and give recommendations for the manufacture of such an instrument. But maybe there are some canons of violin construction that masters follow?

Today there are various schools and trends in the art of violin making, the most prominent are the Italian, French and German schools. Of course, each has its own advantages and disadvantages. They differ significantly from each other in manufacturing methods and sound. Although, in all schools, sometimes there were instruments with features that were unusual for a given school, “foreign”.

What materials are used today to make violins and why?

I can note that in the process of making a violin, three types of wood are used: spruce, maple and ebony (black) wood. Various tool parts are made from these species, depending on the properties of the wood. Since the sound of the bass strings mainly depends on the top soundboard, the most ideal for it is a combination of elasticity and softness. Spruce wood has these qualities. The lower deck, head and sides are prepared from maple, since this soundboard is responsible for the operation of the upper register, the frequencies of which correspond to the density of maple. The neck is made of ebony, which, due to its excellent strength and rigidity (by the way, it is one of the types of wood that sinks in water), is most resistant to wear from string work. Only iron wood can become a rival to him, but it is very heavy, and also green.

Is it possible, based on external signs, to pick up a violin and somehow evaluate the work of the master who made it?

Yes, definitely. Firstly, competent selection of a fragment of material. In addition to the proven type of wood and proper preparation, you also need to select the most successful fragment for each element of the violin. Secondly, the accuracy of the connections, the quality of the insertion of the mustache and many other small details. If you are a violin maker yourself, you will see this with the naked eye. Finally, the varnish covering the body, the composition of which is usually kept secret by each master. This means that, despite the abundance of computer technology, the art and talent of the master still comes first in the craft of violin making. It is his intuition that ultimately determines what the instrument will turn out to be and how it will sound.

What is your impression of Tononi violins? How can you evaluate the models you saw (520, 920, 950)?

I can say that if you are going to buy a violin, then this is a surprisingly good option. All the violins I have seen so far meet all the criteria we just talked about. It is clear that they are produced “smartly”, competently and with knowledge of the matter. These instruments have everything to sound great. Some nuances can be improved, but this is the work of the master after purchasing the instrument. In general, one can only rejoice and express the wish that the Tononi company will continue to maintain the same approach to the production of bowed strings. Today you rarely see a violin for sale so high quality at a reasonable price.

A few questions for the violin class teacher.

Fedorenko Evgenia Solomonovna, teacher of the Children's Art School named after. P. A. Serebryakova

The violin is a special instrument that requires a delicate approach both in selection and handling. What do you need to know first in order to choose a suitable violin for a person starting to learn to play this instrument?

The first thing to start with is the size of the violin. There can be no connection to the child’s age, since the physical development of children varies greatly. A universal way is to place the instrument on your shoulder, as if playing, and extend your left arm parallel to the violin. The curl should rest against the lower edge of the palm. In other words, only the entire palm should be visible from under the violin. As a teacher, I also judge by the size of the child’s hand. It should be proportionate to the fingerboard so that the position of the hand and fingers when playing is natural.

Then there is the quality of the wood. Unfortunately, most new violins modern production made from raw, unseasoned wood. In a competitive environment, it is not profitable for manufacturers to comply with the aging time of wood, and artificially dried material will still differ in properties from naturally dried wood. Therefore, it is often difficult to understand what a new instrument is and what timbre potential it has. Such a violin will truly begin to sound in 3-5 years, when the wood naturally dries out.

On the other hand, if the sound of the instrument is good enough when you select it, then you can hope that it will become even better over time. One condition is that you need to constantly play the violin; it won’t play on its own. In connection with the above, it is better to try a new instrument by sound. Although my personal opinion is that at the early stage of training, sound characteristics are not of decisive importance for a small violinist. In any case, up to size 1/4-1/2;, the child is just beginning to learn to work with sound. This is the stage where you can get by with a not very expensive tool. But, starting from size 1/2;, I make sure that all students have violins of at least European production - the Czech Republic or Germany.

What other nuances related to sound should you consider when choosing an instrument?

In general, there are no minor details in the sound quality of the violin. Everything has its meaning and adds up to the overall result.

In terms of factors affecting sound, I would prioritize as follows. In the first place is the correct placement of the hood and stand. There should be a small distance between them, which only a violin maker can determine. The stand must be adjusted to the shape of the deck and fit tightly to it. I usually recommend choosing a stand that is not too thick, this is also important.

The next most important thing is the neckplate (string holder), it is better if it is made of wood. Metal and plastic can produce unwanted sounds. In addition, a metal neck often makes the violin heavier and should be avoided. You can put machines on the first two strings for precise tuning, but I recommend tuning the third and fourth strings only using pegs, without machines.

The remaining parts - bridge, chinrest, loop, button, pegs - also affect the sound, but comfort is a largely determining factor here. Although the tradition of making them from the same type of wood also did not arise by chance. Ideally, you can install a set made in the same style and from the same material (ebony, rosewood, walnut, etc.) - usually it includes a chinrest, pegs, a button, and a vein.

Many people now use a pillow instead of a bridge, some do without one at all - it depends on physiology. In my class, many children start without a bridge - this way, in my opinion, they feel better contact with the instrument. On initial stage this is more important than the benefits that come from using a bridge.

What importance do you attach to the choice of bow for your students?

The bow is a separate, extremely important element in the playing process; it is worth paying close attention to the choice of the bow. It must meet many requirements, and for beginning violinists this is important - perhaps even more important than the instrument. If we are talking about wooden bows, then the first condition is that the cane must be straight! That is, if you take a bow with a taut hair by the block, rest the head against a horizontal surface and press so that the reed bends down - it should move parallel to the hair. In any case, it should be easy to control and keep it centered. If it moves to the side, you should not expect that this bow will be comfortable when playing. The second option is modern carbon bows. For little violinists, they often turn out to be a godsend, because even if a child sits on it, the reed will not break and – what’s more – will remain straight. Children do not always take care of their instruments, no matter how much we would like them to.

Check that the screw in the block is in good condition and allows you to properly tension and release the hair. Be sure to let go of the hair on the bow after practice - this will significantly increase its service life and allow you to change the hair less often. For a child, I usually choose a bow with a thinner reed so that the child's hand can hold it comfortably. The same, by the way, applies to the neck - sometimes you can find a violin (1/4 or 1/8, for example) with a thick neck that simply does not really fit in your hand. Of course, there is no longer talk of effective lessons with such tools; it is uncomfortable for the child.

I don’t have any specific wishes regarding the weight of the bow; this is a “whatever is convenient” moment. Although there is one rule - I give the girls heavier bows so that they can play more with the weight of the bow itself, and use less physical force.

If a violinist is practicing seriously and wants to achieve any noticeable results, then there can be only one bow material - fernambuc; I simply do not consider other types of wood. This is the only material that has properties suitable for comfortable playing - first of all, sufficient elasticity. Despite this, if you are planning to buy such a bow, then you should not think that a particular specimen will not require inspection. In any case, you need to test it for the absence of curvature or defects in the screw, as well as for the quality and quantity of hair.

A few questions for the violinist student at the Conservatory.

Elizaveta Goldenberg, 2nd year student at St. Petersburg State University named after. Rimsky-Korsakov, (class of N. A. of the Russian Federation, Professor M. Kh. Gantvarg), concertmaster of the Youth Symphony Orchestra of St. Petersburg.

Elizabeth, everyone knows that professional violinists play master violins. Such an instrument is acquired when the violinist reaches a certain level of skill. I would like to know what was your very first instrument?

My first violin was an ordinary factory “eight”, which my teacher gave me at a music school. This is a very common situation when a teacher at the initial stage of teaching gives students instruments from his “collection”. And I was no exception. Unfortunately, I can't tell you how good that violin was.

What do you think is the first thing to pay attention to when choosing a violin for those who are just taking their first steps?

I must say that it is wonderful when there is a choice, because, as a rule, the child plays the instrument that was given to him at school. But if you have the opportunity to choose, then convenience is of paramount importance. It is very important to decide on the size. The tool should be comfortable for the child. Perhaps this is the most important thing. I don't think it's worth paying great attention on sound, because at the initial stage it is more important to learn how to hold the instrument correctly.

What did you pay attention to when choosing a more serious instrument for yourself?

For me, the essential point is the uniformity of the timbre of all four strings. The fact is that often the outer strings (E and G) are too loud, and the middle strings (A and D) fall out of tone and sound very dull.

The degree of curvature of the stand is also important. The contour of the bridge should follow the curve of the neck, and at the same time this curve of the bridge should not be too flat, because then the three strings will be at the same level, and it will be awkward to play.

But this is all individual. The main thing is that you just like the instrument; as they say, it fits in your hand. Almost every violinist immediately understands whether this is his instrument or not. From my own experience I can tell you that it is not the musician who chooses the instrument, but the violin that chooses the musician.