“When Should I…” (#1) — 7 Tips About Equipment

Here are some guidelines — When To take care of 7 aspects of your fiddle “equipment”. Keep in mind, though, that 90% of the music and sound you produce has to do with the player, not the equipment!

Are you wondering when to… Put on more rosin? Clean rosin off strings? Change strings? Rehair your bow? Look for a new shoulder rest? Look for a new bow? Look for a new violin?

When should I…

1 …put more rosin on

Short answer: when you’re not getting the sound you expect

A fairly good rule of thumb is to add rosin for ever hour or so of actual playing time. Don’t put too much on, though, just a bit of a rub at each end with maybe two passes, down and up, along the length of the hairs, more if you haven’t done it for a while. If you see a cloud of white puff up as you play, you’ve put way too much on! Whip your bow through the air a few times to get rid of the excess, but try not to bang it into anything or anybody as you do!

2 …clean rosin off the strings and fiddle

Short answer: every time you’re done playing

Take a lintless cloth and wipe the rosin off the strings and the violin. The buildup of rosin only chokes the quality of your sound, and if it piles up on the instrument it will deteriorate the finish. No need to use any cleaner on the strings, just rub the strings where you’ve played on them, until the annoying squealing (more annoying the longer you’ve waited to clean them!) stops and your cloth slides silently over the strings. Rubbing rosin off the violin can be done with the cloth too, but once in a while you can use a drop of polish/cleaner made for violins; just don’t get it on the strings too!

Continue reading “When Should I…” (#1) — 7 Tips About Equipment

Changing Strings

Like tuning, changing strings is a necessary evil! Let’s talk about what to aim for and what to watch out for, as you change strings. We’ll start with the 7 Ideas to Keep in Mind, talk about How to Change Strings, and then go into the Whys & Wherefores for those interested.

7 Ideas to Keep in Mind

1. Change only one string at a time – the bridge can actually fall down if you take all the strings off at once*.  Of course, if you break a string, you may only need to replace that one.  Try not to let strings go longer than a year before changing them — you may not notice them losing their vigor but you certainly will notice how nice they sound when you change them!

2. Roll the strings neatly onto the correct pegs, with one layer of string**. The more neatly the string is rolled on, the more likely you’ll have enough space to Continue reading Changing Strings

Shoulder Rests

Most fiddlers and violinists use a shoulder rest, but some struggle with finding the right one or adjusting it to their needs.

There are players who prefer not to use one, usually for reasons to do with convenience or authenticity: Old-style fiddlers didn’t use them, poor players couldn’t afford them, it’s more natural to just pick up the fiddle and play than to stop and attach an accessory first, and some say they feel the vibrations better without a rest.  Sometimes I go without it myself, if I need to quickly pick up the fiddle and play, but it doesn’t feel good to do it for long, or I have to keep adjusting my position so I don’t overuse certain muscles and get a cramp or strain.

I recommend that students use shoulder rests for two main reasons:  better physical health, and to allow the left hand to do its job.

Health-wise, it’s better for your body to play with both shoulders kept down in a natural position, and for the chin to stay back in its normal position rather than jut forward to accommodate the chinrest. Neither shoulder nor chin should apply pressure to squeeze the fiddle in place; that’s a recipe for muscle strain and misalignment.

As to allowing the left hand to do its job, take a look at the article about the joints of the left hand and arm, called “Controllers of the Left.”  Without a shoulder rest, the left hand tends to feel it needs to help hold the fiddle up, and this usually involves collapsing the wrist to use the palm as a support. Some traditional players do this, though one constantly touring fiddler told me she taught herself to straighten her left hand because her hand was getting numb — the collapsed wrist was cutting down on circulation. There’s an interesting theory that before the chinrest was invented (1820), players kept their left hand in one place, with the thumb halfway up the neck, allowing them to move up or down the fingerboard using the thumb as anchor, but that is a whole other technique of playing.

With a shoulder rest, Continue reading Shoulder Rests