Win a Free Mandolin or Violin – Enter Our Year-Long Giveaway

 

(these are Adam's instruments, the contest instruments will vary slightly)

Get a Free Instrument + a Free Lesson – Sign Up Today!

Are you ready to start playing mandolin or violin? Here’s your chance to win a brand-new instrument AND get a free lesson to kickstart your journey!

What’s the Prize?

• Grand Prize #1: A brand-new A-style mandolin

• Grand Prize #2: A full student violin outfit

How to Enter:

1. Sign up for a free online lesson – This confirms your entry into the contest.

2. Complete the Google Form – We need your name, email, and a few details.

3. Earn Bonus Entries – Share the contest and refer a friend who books a lesson!

Why Are We Doing This?
As a teacher, I know that getting started is the hardest part. That’s why I’m giving away these instruments – to help someone take that first step toward learning mandolin or violin. Even if you don’t win, you’ll still get a free lesson to get you started.

Contest Deadline: December 31, 2025
We’ll announce the winners in January 2026!

Ready to Enter?
Fill out the Google Form here:

The History of the Violin: A Journey Through Time

The violin, an instrument synonymous with passion, expression, and virtuosity, has a history as rich and resonant as its sound. From its ancient roots in North Africa and the Middle East to its emergence as a central pillar of Western classical music, the violin tells a story of cultural exchange, innovation, and enduring appeal.

Ancient Roots: Bowing Begins

The origins of the violin trace back to the rebab, a small, bowed string instrument that appeared in the 8th or 9th century in the Middle East and North Africa. With its rounded body, long neck, and hauntingly expressive tone, the rebab was carried to Europe through Islamic conquests, trade routes, and the Crusades. Its introduction sparked a transformation in European musical traditions, planting the seeds for the bowed string instruments to come.

The Byzantine lyra, a gut-stringed instrument played with a bow, also emerged around the same time in Eastern Europe. This instrument likely influenced stringed instrument development in Italy and beyond, providing another critical link in the violin’s lineage.

Medieval Innovations: The Vielle

As the rebab’s influence spread across Europe, it gave rise to the vielle, a staple of medieval music from the 12th to the 15th centuries. The vielle featured a flat back, an elongated body, and five or more strings, offering greater versatility and dynamic range. It served as both a secular and sacred instrument, paving the way for later innovations in bowed string technology. In its design and melodic focus, the vielle represents one of the most direct ancestors of the modern violin.

 

Renaissance Transformations: The Viol and Lira da Braccio

During the Renaissance, stringed instruments flourished. Two key instruments emerged: the viol (or viola da gamba) and the lira da braccio.

The viol, developed in 15th-century Spain, was influenced by both the rebab and the vihuela, a plucked lute-like instrument. Played upright between the legs, the viol had frets, a flat back, and a mellow tone. It became the preferred instrument of aristocrats and court musicians, serving a refined and polyphonic musical tradition. However, its complexity and exclusivity left room for innovation.

The lira da braccio, meanwhile, was a shoulder-held instrument favored by poets and musicians in Italy. It had a more expressive sound and was used to accompany lyrical performances. Its design, tuning, and emotional depth heavily influenced the creation of the violin.

The Birth of the Violin: Andrea Amati’s Genius

In the 16th century, in the northern Italian city of Cremona, the violin as we know it took shape under the craftsmanship of Andrea Amati. Amati’s violins were smaller, louder, and more dynamic than the viol, making them ideal for both public performances and intimate settings. By removing frets and refining the instrument’s shape and soundboard, Amati created an instrument that combined technical versatility with unparalleled expressiveness.

The violin’s accessibility also played a significant role in its rise. Unlike the viol, which was largely reserved for aristocrats, the violin became an instrument for the masses, adaptable to folk music, dance, and burgeoning orchestral traditions.

The Violin’s Evolution

Amati’s work laid the foundation for future luthiers, including the legendary Antonio Stradivari and Giuseppe Guarneri, who refined the instrument’s acoustics and craftsmanship to perfection. By the Baroque period, the violin had become the centerpiece of Western classical music, celebrated for its ability to mimic the human voice and convey profound emotion.

From Bach to Paganini to modern virtuosos, the violin has continued to evolve in both technique and repertoire, adapting to styles as diverse as jazz, bluegrass, and experimental electronic music. Its versatility and emotional depth make it one of the most beloved instruments worldwide.

The Future of the Violin

As we look to the future, the violin remains a symbol of both tradition and innovation. Advances in materials science could lead to new ways of crafting violins, potentially using carbon fiber or other synthetic materials to create instruments that rival the tonal qualities of centuries-old masterpieces. Simultaneously, the digital age invites new forms of collaboration and experimentation, with electric violins and AI-assisted compositions pushing the boundaries of what’s possible.

Yet, at its heart, the violin’s essence will remain unchanged. It will continue to serve as a bridge between cultures, a vessel for human emotion, and a testament to the power of music to transcend time and place. Whether in a concert hall, a folk festival, or an experimental soundscape, the violin will always have a voice—and it will sing.

Failing Memories by Charles Spencelayh

Failing Memories" painted (1926) by English artist Charles Spencelayh, is a poignant painting depicting an older violinist with his violin, apparently struggling to remember a composition. Very powerful painting.

 

Who Was Andrea Amati, the First Violin Maker?

Andrea Amati (1505-1577)

Andrea Amati was a violin maker who lived in the 16th century (1505-1577). He is credited with being the first known maker of the violin.  Little is known about Amati's background or personal life. He was born in the town of Cremona, Italy, which was a center of lute making at the time. Amati was a member of a family of instrument makers and is believed to have learned the craft from his father.

Little is known about Amati's background, but it is believed that he was a member of a family of instrument makers who had been working in Cremona for several generations. He was probably trained in the art of instrument making by his father or grandfather.

Amati is believed to have invented the violin sometime in the early 16th century. The exact date is not known, but the oldest surviving violin made by Amati dates from around 1555.

Amati's inspiration for making the violin is not known for certain, but it is believed that he was trying to improve upon earlier bowed instruments, such as the lira and the vielle. He may have been trying to create an instrument that was louder, more agile, and more capable of playing a wider range of music than these earlier instruments.

Amati began his career as a maker of lutes, which were popular stringed instruments in the Renaissance. He is believed to have been inspired to create the violin after observing the popularity of other bowed instruments, such as the vielle, which was widely played in Europe at the time.

Amati is credited with creating the first violin in the early 16th century, though the exact date is not known. It is believed that he was inspired to create the instrument in response to the increasing popularity of bowed instruments in Italy at the time. Amati's violins were known for their exceptional craftsmanship and beautiful design, and they became highly sought after by musicians and collectors.  He is also credited with developing the modern design of the violin, which has remained largely unchanged since his time.  Amati  is considered one of the most important figures in the history of violin making.

Amati's violins were highly prized for their excellent craftsmanship and beautiful sound, and his workshop became a center of violin making in Cremona. His instruments were sought after by musicians and collectors throughout Europe, and his legacy as a violin maker continues to this day.

There are many excellent and important violin makers throughout history who have made significant contributions to the art of violin making. Some examples of highly respected violin makers include:

• Antonio Stradivari: Stradivari was an Italian violin maker who lived in the 17th and 18th centuries. He is widely considered the greatest violin maker of all time and is credited with creating some of the finest violins ever made. His violins are known for their superior craftsmanship, tonal quality, and beautiful design.
• Giuseppe Guarneri: Guarneri was an Italian violin maker who lived in the 17th and 18th centuries. He was a contemporary of Stradivari and is considered one of the greatest violin makers of all time. His violins are known for their strong, powerful sound and exceptional craftsmanship.
• Antonio Guarneri: Antonio Guarneri was the son of Giuseppe Guarneri and was also an accomplished violin maker. His violins are known for their beautiful sound and exceptional craftsmanship.
• Jacob Stainer: Stainer was an Austrian violin maker who lived in the 17th century. He is considered one of the greatest violin makers of all time and his violins are known for their exceptional tonal quality and beautiful design.

These are just a few examples of excellent and important violin makers. There are many other highly skilled and respected violin makers throughout history who have made significant contributions to the art of violin making.

Who Was Andrea Amati, the First Violin Maker?

Andrea Amati (1505-1577)

Andrea Amati was a violin maker who lived in the 16th century (1505-1577). He is credited with being the first known maker of the violin.  Little is known about Amati's background or personal life. He was born in the town of Cremona, Italy, which was a center of lute making at the time. Amati was a member of a family of instrument makers and is believed to have learned the craft from his father.

Little is known about Amati's background, but it is believed that he was a member of a family of instrument makers who had been working in Cremona for several generations. He was probably trained in the art of instrument making by his father or grandfather.

Amati is believed to have invented the violin sometime in the early 16th century. The exact date is not known, but the oldest surviving violin made by Amati dates from around 1555.

Amati's inspiration for making the violin is not known for certain, but it is believed that he was trying to improve upon earlier bowed instruments, such as the lira and the vielle. He may have been trying to create an instrument that was louder, more agile, and more capable of playing a wider range of music than these earlier instruments.

Amati began his career as a maker of lutes, which were popular stringed instruments in the Renaissance. He is believed to have been inspired to create the violin after observing the popularity of other bowed instruments, such as the vielle, which was widely played in Europe at the time.

Amati is credited with creating the first violin in the early 16th century, though the exact date is not known. It is believed that he was inspired to create the instrument in response to the increasing popularity of bowed instruments in Italy at the time. Amati's violins were known for their exceptional craftsmanship and beautiful design, and they became highly sought after by musicians and collectors.  He is also credited with developing the modern design of the violin, which has remained largely unchanged since his time.  Amati  is considered one of the most important figures in the history of violin making.

Amati's violins were highly prized for their excellent craftsmanship and beautiful sound, and his workshop became a center of violin making in Cremona. His instruments were sought after by musicians and collectors throughout Europe, and his legacy as a violin maker continues to this day.

There are many excellent and important violin makers throughout history who have made significant contributions to the art of violin making. Some examples of highly respected violin makers include:

• Antonio Stradivari: Stradivari was an Italian violin maker who lived in the 17th and 18th centuries. He is widely considered the greatest violin maker of all time and is credited with creating some of the finest violins ever made. His violins are known for their superior craftsmanship, tonal quality, and beautiful design.
• Giuseppe Guarneri: Guarneri was an Italian violin maker who lived in the 17th and 18th centuries. He was a contemporary of Stradivari and is considered one of the greatest violin makers of all time. His violins are known for their strong, powerful sound and exceptional craftsmanship.
• Antonio Guarneri: Antonio Guarneri was the son of Giuseppe Guarneri and was also an accomplished violin maker. His violins are known for their beautiful sound and exceptional craftsmanship.
• Jacob Stainer: Stainer was an Austrian violin maker who lived in the 17th century. He is considered one of the greatest violin makers of all time and his violins are known for their exceptional tonal quality and beautiful design.

These are just a few examples of excellent and important violin makers. There are many other highly skilled and respected violin makers throughout history who have made significant contributions to the art of violin making.

The Parts of the Fiddle (violin) and Bow

What is a Violin?

A violin is a bowed string instrument with four strings tuned in perfect fifths. It is played with a bow and is held under the chin. The violin is a popular and versatile instrument that is used in a wide variety of music genres, including classical, jazz, folk, and pop.

The violin was invented in the early 16th century in Italy. It is believed that the violin was developed from earlier bowed instruments, such as the viol, lira and the vielle. The first known violin maker was Andrea Amati, who lived in the 16th century.

The difference between a violin and a fiddle is largely one of terminology. In general, the term "violin" is used to refer to a classical instrument that is played with a bow and is used in classical music, while the term "fiddle" is used to refer to a folk instrument that is played with a bow and is used in folk music. However, the terms are often used interchangeably, and many musicians who play classical music also refer to their instruments as fiddles.

The parts of the violin include the following:

• Head: This is the top of the violin, where the scroll (a decorative spiral at the end of the neck) is located.
• Neck: This is the long, thin part of the violin that extends from the body and supports the fingerboard.
• Fingerboard: This is the long, thin piece of wood that is attached to the neck and over which the strings pass. It is used to press the strings down to change their pitch.
• Body: This is the main part of the violin, which is made up of the ribs, back, and belly. The ribs and back are made of maple wood, while the belly is made of spruce.
• F-holes: These are two small, curved openings in the belly of the violin that allow sound to escape from the instrument. They are shaped like the letter "F" and are important because they help to amplify the sound of the violin.
• Bridge: This is a small, wooden arch that is located between the f-holes on the belly of the violin. It is used to support the strings and transmit their vibrations to the belly of the instrument.
• Tailpiece: This is a small piece of wood or metal that is attached to the end of the violin body and holds the end of the strings in place.
• Endpin: This is a thin, pointed rod that is attached to the tailpiece and extends down to the ground. It is used to support the violin while it is being played.

The violin is shaped like it is because its design has evolved over time to produce the best possible sound. The maple wood used for the back and sides of the violin is chosen because it is strong, durable, and has a rich, warm tone. The violin bridge is important because it helps to transmit the vibrations of the strings to the body of the instrument, which helps to produce a good sound. There is no metal used in the construction of a violin because metal does not vibrate in the same way as wood and would not produce a good sound.

Carved-wood Violin Bow

A violin bow is a long, slender stick with a curved tip that is used to play the violin. It is made of a thin, flexible rod of wood, usually pernambuco or brazilwood, and has a tightened cord running along its length strung with horsehair, which is stretched between the two ends of the bow.

The bow is used to play the violin by drawing it across the strings, causing them to vibrate and produce sound. The player can vary the pitch, volume, and tone of the sound by using different techniques, such as bowing closer to the bridge or using more or less pressure on the strings.

Horsehair is used for the bow because it is strong, flexible, and produces a smooth, even sound when drawn across the strings. It is important to use good quality horsehair for the bow because low quality hair can break or become brittle over time.

A good violin bow is one that is well-balanced, has a good amount of flex, and produces a clear, even sound. Factors that can affect the quality of a bow include the type of wood used, the quality of the horsehair, and the craftsmanship of the bow maker.

To pick the right violin bow for yourself, it is important to try out different bows and see which one feels and sounds the best to you. You should consider factors such as the weight and balance of the bow, the amount of flex, and the overall feel and playability of the bow. You may also want to consider your playing style and the type of music you will be playing when selecting a bow.

There are many excellent violin bow makers throughout history and today. Some examples of highly respected bow makers include:

• François Tourte: Tourte is considered the "father of the modern bow" and is credited with inventing the modern violin bow in the late 18th century. His bows are known for their perfect balance, flexibility, and playability.
• James Tubbs: Tubbs was a British bow maker who was known for his exceptional craftsmanship and attention to detail. His bows are highly sought after by collectors and players alike.
• Pajeot: Pajeot was a French bow maker who was active in the early 20th century. His bows are known for their elegant design and superb playing characteristics.
• Paul Siefried: Siefried was a German bow maker who was active in the late 19th and early 20th centuries. His bows are known for their excellent balance and playability.
• Eugene Sartory: Sartory was a French bow maker who was active in the early 20th century. His bows are highly prized for their craftsmanship and beautiful design.

These are just a few examples of excellent violin bow makers. There are many other highly skilled and respected bow makers working today who are creating exceptional bows for players around the world.

The Parts of the Fiddle (violin) and Bow

What is a Violin?

A violin is a bowed string instrument with four strings tuned in perfect fifths. It is played with a bow and is held under the chin. The violin is a popular and versatile instrument that is used in a wide variety of music genres, including classical, jazz, folk, and pop.

The violin was invented in the early 16th century in Italy. It is believed that the violin was developed from earlier bowed instruments, such as the viol, lira and the vielle. The first known violin maker was Andrea Amati, who lived in the 16th century.

The difference between a violin and a fiddle is largely one of terminology. In general, the term "violin" is used to refer to a classical instrument that is played with a bow and is used in classical music, while the term "fiddle" is used to refer to a folk instrument that is played with a bow and is used in folk music. However, the terms are often used interchangeably, and many musicians who play classical music also refer to their instruments as fiddles.

The parts of the violin include the following:

• Head: This is the top of the violin, where the scroll (a decorative spiral at the end of the neck) is located.
• Neck: This is the long, thin part of the violin that extends from the body and supports the fingerboard.
• Fingerboard: This is the long, thin piece of wood that is attached to the neck and over which the strings pass. It is used to press the strings down to change their pitch.
• Body: This is the main part of the violin, which is made up of the ribs, back, and belly. The ribs and back are made of maple wood, while the belly is made of spruce.
• F-holes: These are two small, curved openings in the belly of the violin that allow sound to escape from the instrument. They are shaped like the letter "F" and are important because they help to amplify the sound of the violin.
• Bridge: This is a small, wooden arch that is located between the f-holes on the belly of the violin. It is used to support the strings and transmit their vibrations to the belly of the instrument.
• Tailpiece: This is a small piece of wood or metal that is attached to the end of the violin body and holds the end of the strings in place.
• Endpin: This is a thin, pointed rod that is attached to the tailpiece and extends down to the ground. It is used to support the violin while it is being played.

The violin is shaped like it is because its design has evolved over time to produce the best possible sound. The maple wood used for the back and sides of the violin is chosen because it is strong, durable, and has a rich, warm tone. The violin bridge is important because it helps to transmit the vibrations of the strings to the body of the instrument, which helps to produce a good sound. There is no metal used in the construction of a violin because metal does not vibrate in the same way as wood and would not produce a good sound.

Carved-wood Violin Bow

A violin bow is a long, slender stick with a curved tip that is used to play the violin. It is made of a thin, flexible rod of wood, usually pernambuco or brazilwood, and has a tightened cord running along its length strung with horsehair, which is stretched between the two ends of the bow.

The bow is used to play the violin by drawing it across the strings, causing them to vibrate and produce sound. The player can vary the pitch, volume, and tone of the sound by using different techniques, such as bowing closer to the bridge or using more or less pressure on the strings.

Horsehair is used for the bow because it is strong, flexible, and produces a smooth, even sound when drawn across the strings. It is important to use good quality horsehair for the bow because low quality hair can break or become brittle over time.

A good violin bow is one that is well-balanced, has a good amount of flex, and produces a clear, even sound. Factors that can affect the quality of a bow include the type of wood used, the quality of the horsehair, and the craftsmanship of the bow maker.

To pick the right violin bow for yourself, it is important to try out different bows and see which one feels and sounds the best to you. You should consider factors such as the weight and balance of the bow, the amount of flex, and the overall feel and playability of the bow. You may also want to consider your playing style and the type of music you will be playing when selecting a bow.

There are many excellent violin bow makers throughout history and today. Some examples of highly respected bow makers include:

• François Tourte: Tourte is considered the "father of the modern bow" and is credited with inventing the modern violin bow in the late 18th century. His bows are known for their perfect balance, flexibility, and playability.
• James Tubbs: Tubbs was a British bow maker who was known for his exceptional craftsmanship and attention to detail. His bows are highly sought after by collectors and players alike.
• Pajeot: Pajeot was a French bow maker who was active in the early 20th century. His bows are known for their elegant design and superb playing characteristics.
• Paul Siefried: Siefried was a German bow maker who was active in the late 19th and early 20th centuries. His bows are known for their excellent balance and playability.
• Eugene Sartory: Sartory was a French bow maker who was active in the early 20th century. His bows are highly prized for their craftsmanship and beautiful design.

These are just a few examples of excellent violin bow makers. There are many other highly skilled and respected bow makers working today who are creating exceptional bows for players around the world.

Where does bow hair come from? How is it made?

Here's a bundle of horsetail hair. The hair is from an animal, or animals, that lived and worked in #Siberia. They don't have many tractors there, but they do have a lot of horses. The animals were sold to a slaughterhouse in Harbin, China, where they were disassembled, the component parts cleaned and prepared for transport to different parts of the country. 

Every part of the animal is used in some way. Belly hair, for example, is used in paint brushes! The tails are dried on a cobblestone lot, then loaded in burlap bags labeled by weight, length and color. The pallets are loaded onto freight trains to an auction facility outside #Anping, #China. There they are bid on by various companies. 

The people I do business with bid according to color and length. They mostly supply black hair for car and furniture companies, but they are the oldest facility in the city that still processes #bow #hair in the original manner. If you want to read more about that, I wrote an article about it here.

#violinbow #fiddlebow #cellobow #bowhair #horsetailhair #violin #China #Siberia #Harbin #Anping 

To order your own horsetail hair for bows

Where does bow hair come from? How is it made?

Here's a bundle of horsetail hair. The hair is from an animal, or animals, that lived and worked in #Siberia. They don't have many tractors there, but they do have a lot of horses. The animals were sold to a slaughterhouse in Harbin, China, where they were disassembled, the component parts cleaned and prepared for transport to different parts of the country. 

Every part of the animal is used in some way. Belly hair, for example, is used in paint brushes! The tails are dried on a cobblestone lot, then loaded in burlap bags labeled by weight, length and color. The pallets are loaded onto freight trains to an auction facility outside #Anping, #China. There they are bid on by various companies. 

The people I do business with bid according to color and length. They mostly supply black hair for car and furniture companies, but they are the oldest facility in the city that still processes #bow #hair in the original manner. If you want to read more about that, I wrote an article about it here.

#violinbow #fiddlebow #cellobow #bowhair #horsetailhair #violin #China #Siberia #Harbin #Anping 

To order your own horsetail hair for bows

Are All Violin Players Classically Trained?

You don't need to be classically trained to play the violin. This beautiful instrument is not impossible to play. 

Practice it 30 minutes a day for six months! Follow our Facebook page for more:

Are All Violin Players Classically Trained?

You don't need to be classically trained to play the violin. This beautiful instrument is not impossible to play. 

Practice it 30 minutes a day for six months! Follow our Facebook page for more:

Quora Question: What is the best musical instrument to learn first as a child if you intend to master multiple instruments?

Here’s what I advised my sister (3 kids) and my brother (2 kids): start them out on piano with the Suzuki method. That method teaches ear training, and learning to play music by ear before reading it. After a couple years of that, depending on what kind of music is supported by the school system (orchestra is very rare - only the top towns in MA have orchestras), band is most common, clarinet. If you are lucky to have an orchestra in the school system, then violin. Find a reputable teacher in your area who is actively engaged in the community. Check the local community orchestra for one. They don’t pay very well, so these people teach as a sideline.

I used to be more active on Quora.  I started a profile there soon after it was first publicized, in 2011.  It was a lot of fun, much like Yahoo Questions, which is now defunct.  Then they changed the format making it harder to engage, and I just stopped.  Now I go on there if I have something specific to share.

#children #musicalinstrument #band #orchestra #piano #clarinet #violin 

Quora Question: What is the best musical instrument to learn first as a child if you intend to master multiple instruments?

Here’s what I advised my sister (3 kids) and my brother (2 kids): start them out on piano with the Suzuki method. That method teaches ear training, and learning to play music by ear before reading it. After a couple years of that, depending on what kind of music is supported by the school system (orchestra is very rare - only the top towns in MA have orchestras), band is most common, clarinet. If you are lucky to have an orchestra in the school system, then violin. Find a reputable teacher in your area who is actively engaged in the community. Check the local community orchestra for one. They don’t pay very well, so these people teach as a sideline.

I used to be more active on Quora.  I started a profile there soon after it was first publicized, in 2011.  It was a lot of fun, much like Yahoo Questions, which is now defunct.  Then they changed the format making it harder to engage, and I just stopped.  Now I go on there if I have something specific to share.

#children #musicalinstrument #band #orchestra #piano #clarinet #violin 

Violin & Fiddle Lessons

Depending on your musical background, what instrument you want to learn (I teach violin, viola, mandolin, mandola, mandocello and guitar) and what style(s) of music you want to concentrate on, I will formulate a lesson plan tailored specifically for you.  I don't use the same books and materials for all of my students because everybody is different!

I like to get the introductions/interview part over in emails before the first lesson, so we can dive right into it when you get here.  The things I need to know about you are

• what is your musical background (if any)
• can you read music
• do you understand key signatures, time signatures, scales, arpeggios, chords, basic music theory
• what instrument you want to learn
• what style or styles of music you want to concentrate on 
• do you own an instrument or will you want to buy one or rent one from me

The 7 Church Modes

Depending on your answers, the first lesson could cover the basics of scale theory including intervals, modes, circle of fifths, basic reading and an introduction to the care of your instrument.  Assignments will include buying the books you will need and some basic plucking of strings (mandolin), bow exercises (violin).

Sample Violin/Fiddle Lesson

Subsequent lessons will delve more deeply into scale and mode theory, circle of fifths, practice tips, first tunes.  As you improve, we will be able to learn more complicated tunes, I will determine what exercises you need to work on and give you lots more practice tips.

Depending on the amount of time you have to practice every day, the average learning curve for the violin is 3 - 10 years.  3 years before you can play competently with others and 10 years before you will be able to play with confidence and beauty.  The learning curve for the mandolin is 1-3 years.  1 year before you can play with others, and 3 before you an join a mandolin orchestra or group.

What is Klezmer Music, and What's The Roma Connection?

Originally, the word "klezmer," from the Yiddish language, meant "vessel of song" and later, simply "musician." However, it has come to characterize the style of secular music played by Ashkenazi Jews for joyful celebrations such as weddings.

Alicia Svigals - Klezmer violinist

Klezmer can trace its origins back to the 9th century in the Rhine valley, where the Yiddish language also developed. As Jews moved to Eastern Europe their celebratory music wedding/festival music found influence in that of the local cultures, specifically in present day Romania (including a definite cross-pollination with Roma music) and Moldova (once Bessarabia, where klezmer musicians started using Turkish scales already familiar from synagogue observances), Belarus, Lithuania, Russia, Ukraine and Poland, where 19th century, Polish-Russian klezmorim (esteemed klezmer musicians) who had been in Czarist military bands brought brass and woodwind instruments into what had primarily been string-based ensembles. Judaism’s ultra-orthodox Chasidic movement of the 18th and 19th centuries emphasized passionate singing and dancing while in the act of worship and bound klezmer music inextricably to Jewish festivals and joyous observances.  Klezmer music draws on centuries-old Jewish traditions and incorporates various sounds of music from European and international traditions, including Roma (gypsy) music, Eastern European folk music (particularly Russian music), French Cafe music and early jazz. In different regions of Eastern and Central Europe, klezmer developed slightly differently, leading to an exciting range of subgenres.

Like the Jews, the Roma are an ancient ethnicity that did not originate in Europe; who are believed to have migrated to Persia from northern India from around 420 BC when 10,000 Luri (a caste of musicians and dancers) were brought at the request of the King. On the move with the Turkish army who used them as professional musicians, the Roma dispersed throughout Europe from the 15th century, living on the fringes of society as tinkers, craftsmen and horsetraders, as well as entertainers. Whether dancing with trained bears or playing for a village wedding, Gypsies in the Austro-Hungarian empire made themselves indispensable as performers to villages of various ethnicities (Saxons, Vlachs, Magyar and Moldavians, etc., to name just the groups of Transylvania).

Taraf d Hadouks - Gypsy/Roma/Klezmer

Also like the Jews, the Roma  were a separate minority group generally living on the margins of the societies of the countries in which they lived.  Both groups maintained distinct cultural identities despite being widely scattered, possessed no country or homeland of their own, and were frequent targets of expulsions, discrimination, and persecution. Like klezmer, Roma music is likely traditional religious songs combined with the music of host countries, and influenced by Roma status as a wandering and often marginalized minority. Despite of all this, the music of both groups is often joyful and exemplifies the energy and fire of life and of living.

Klezmer music is intended to replicate the human voice including sounds of crying, wailing and laughing. Generally, the violin is responsible for the imitation which is mean to sound like the cantor in a synagogue. Often, a klezmer band will include a fiddle, a bass or cello, a clarinet and a drum. Secondary instruments include hammered dulcimers and an accordion.
Klezmer music is made for dancing. Most dances which are intended to go along with klezmer music are set dances (much like the Anglo square or contra dances). Klezmer music also has many traditional waltzes and polkas, and in later years, musicians picked up some tangos and polkas which remain in the repertoire.

These klezmer pieces are meant for dancing, including fast and slow tempos:

• Freylekhs are the most popular klezmer dances and they are done in a circle while the piano, accordion or bass plays an "oom-pah" beat. "Freylekh" is the Yiddish word for "festive."
• Skotshne, meaning hopping, is like a more complex freylekh.
• Tango is a famous dance that came out of Argentina; Jews originally composed quite a few Eastern European tangos.
• Sher: This is a set dance, one of the most common, done in 2/4 tempo. The name is derived from the straight-legged, quick movements of the legs, reminiscent of the shears used by tailors.
• Halaka is a traditional Israeli dance the originated in Safed in Galilee; its tune has been handed down through generations.
• Khosidl, or khusidl, is named after the Hasidic Jews who performed the dance which can be done in a circle or in a line.
• Sirba is comprised of hopping and short bursts of running.
• Hora or zhok is a Romanian-style dance; the Israeli hora is derived from the Romanian hora. "Zhok" in Yiddish comes from the Romanian word "joc" which means dance.
• Csárdás is popular among Jews from Hungary, Slovakia and the Carpathians. It begins slowly
• Padespan is a kind of Russian/Spanish waltz.and then the speed quickens.
• Kolomeike is a quick and catchy dance which comes from Ukraine where it is the most common folk music.
• Mazurka and polka are from Poland and Czechoslovakia. Both Jew and non-Jews engaged in the dance.
• Terkish is like the habanera.

Di Grine Kuzine with Theodore Bikel

Other Articles

• Klezmer For Beginners Online Group Class
• What is Klezmer: Traditional Balkan Music Influenced Mostly By Roma (Gypsies) Originally For Jewish Celebrations In Eastern Europe
• What is Gypsy Music? It should be noted that the word ‘gypsy' often has a negative connotation, and the Romani people would never use this term to refer to themselves.  Therefore it is preferable to refer to them as they refer to themselves, as ‘Roma'.  
• Romani Culture and Music
• Musician Profile: Nicolae Feraru, Gypsy / Roma Traditional Music
• Musician Profile: Hankus Netsky
• Musican Profile: Ilya Magalnyk
• Top Klezmer Recordings
• Which Came First Klezmer or Canonical "Church" Modes?

Electric / Silent Violins

My first Electric violin was a Yamaha SV-100 "silent violin".  This instrument was built for practicing.  It was basically a violin peg box and neck with some electronics and battery attached, strings and a bridge.  I loved it.  I rigged up a 1/4" jack so I could plug it into an amplifier.  I played it on stage in my country band, Wild Heart.  It was fantastic.  I think I paid under $500 for it new.  After a couple years, I upgraded to an electric 5 string violin by Straus (a Korean company that became Daewon Musical Instruments), which I took with me to perform in a World Music festival in Egypt at the Great Pyramids in '99.  It was a lot heavier, but set up to be plugged into an amp and therefore had much better electronics.  I sold that little Yamaha to a student, Katherine First, who became the fiddler for Dicey Riley, an Irish rock band from Springfield, MA.  I stopped needing an electric in the 2000's, first because my Irish quartet Woodkerne had taken off and we were playing mostly traditional music, and second because my Bluegrass band The Americana Project was mostly mandolin.  I sold the Straus on Ebay for about what I paid for it.  I should have kept it because they are not available any more.

Anyway, I'm back in the Electric / Silent Violin market because I'm advising some students on what instruments to buy and why.

My favorite is the Cecilio Electric / Silent Violin.  You can get one on Amazon.com for about $119 plus shipping (unless you have Prime, then shipping is free), or you can get it from me for $99, and pick it up in Granby if you like.  I take PayPal.  I ship anywhere in the world via DHL Express and FedEx Ground here in the US.  Simply send the amount to sweetmusic@protonmail.com plus $25 for shipping/handling and I will pack and ship it promptly.

Here's what I like about it:

• Size 4/4, style 2 electric / silent violin in black metallic varnish (full size)
• Hand-carved solid maple wood body with ebony fingerboard, pegs, chin rest and tailpiece with mother of pearl inlay
• Powered by a 9V Alkaline battery (included)
• Includes: lightweight hard case, Brazil wood bow with unbleached genuine Mongolian horsehair, quality rosin cake, a bridge, aux cable, and headphones
• 1 Year Warranty Against Manufacturer's Defects

Origins of the Violin Part 2

Welcome to the Sweet Music Studio!  Today, I'm continuing to explore the history of the violin.  As I've shown in previous posts, violin owes its existence to ancient instruments such as the rabab, rebec, vielle and viola/lira, used in northern Africa and eventually Europe. These instruments were played in an upright position and bowed. 

The viola early stringed instrument evolved over time in Europe into two separate families of instrument: those that were held in the arms and square in shape ("viola di braccio") and those that were positioned between the legs and shaped with sloped shoulders ("viola da gamba"). They both enjoyed great success and wide use, but over time the instruments held in the arms became more popular and led to the development of the violin in and around 1550.

Marco Cara- lyra da braccio

The classic master period of Italian violin making stretched from the 16th to the 18th century. Famous luthiers included the Guarneri, Amati, da Salo, Ruggieri and Micheli families along with Antonio Stradivari and Jacob Stainer, among others. Though players have preserved many of these treasured violins through the years, they are in limited supply and worth astronomical amounts today.

Northern Italy had two regions that excelled in luthier skill in the earlier part of this 200 year "golden era" range: Brescia and Cremona. Milan and Venice also were important locations for stringed instrument building. Brescia was the first to emerge, and its famous stringed instrument school and workshop bred a generation of innovative and highly skilled artisans.

The credit for the first violin is usually given to a Cremonese luthier named Andrea Amati who had made his name originally as a lute builder. He created at least two three string violins in the 1540s. He was then commissioned to build one of the first four-string violins by the wealthy Medici family in the 1550s. Though the instrument was intended initially for professional street musicians, it became a favorite of aristocratic amateurs who had money to spend in the instrument shops.

The two earliest examples of violins that survive today were both crafted by Amati in the mid 16th century.

The “Greffuhle” violin is one of only 11 decorated
Stradivarius instruments still around. (Smithsonian)

Antonio Stradivari, another famed luthier, learned his trade as an apprentice in the workshop of Nicolo Amati, a grandson of Andrea Amati who was active through much of the 18th century. But he added his own discoveries in varnish and body design to the skill he gained in Amati's shop.

The violin became a central part of the orchestra in the 1600s, popularized by composers such as Monteverdi.

Through the centuries, the violin evolved considerably and went through one major transformation. Originally the neck was shorter and the instrument had gut strings. Some versions had only three strings. The most sweeping change happened in the 1800s, when a change in the accepted pitch of the violin resulted in luthier modifications to almost all existing violins. A centimeter was added to the neck and fingerboard to allow for the change and the bass bar was increased in weight to allow for more string tension. Strings are usually made of steel now.

One famous historic violin is stored today under close guard at the Ashmolean Museum in Oxford, England. Built by Antonio Stradivari in 1716 and almost never played, it is preserved as an example of how his instruments looked and sounded in a like-new condition. This unique and uniquely valuable violin, called the Messiah-Salabue Stradivarius, left Stradivari's workshop upon the master's death in 1737 and passed through several hands before arriving as a donation at the museum in the 20th century. According to reports, the gift came with a proviso that the violin never be played.

A great deal of research and experimentation has gone into trying to recreate the qualities of golden period violins using modern materials and methods, but the original instruments are still highly prized.

Stradivari violin, "The Antonius," played by Eric Grossman

The violin continues to evolve today with innovative designs in electric violins that can be played with amplification and effects.

Famous Players

The violin is not only used in classical music, it is also a popular sound for jazz, bluegrass, rock, folk and country music.

Famous classical violin players include Pablo de Sarasate, Yahudi Menuhin, Jascha Heifetz, David Oistrakh, Giuseppe Tartini, Fritz Kreisler, Mischa Elman, Arcangelo Corelli, Itzhak Perlman, Joseph Joachim, Antonio Vivaldi and even Wolfgang Mozart. Niccolo Paganini is thought by many to be the ultimate classical violin player and composer, as he wrote and flawlessly performed some of the most challenging repertoire available for the violin.

There are many notable jazz violinists, including Stephane Grappelli, Joe Venuti, Jean Luc-Ponty, Ray Nance, Svend Asmussen, Federico Britos and Regina Carter.

Well known country and folk violinists include Charlie Daniels, Dale Potter, Bob Wills, Spade Cooley, Roy Acuff, Tommy Jackson, Chubby Wise, Vassar Clements, Tommy Vaden and Alison Krauss.

Water-stained violin proven to be the one that played Nearer my God to Thee by Wallace Hartley as the Titanic sank is found

Water-stained violin proven to be the one that played Nearer my God to Thee by Wallace Hartley as the Titanic sank is found

It is the instrument that he played as the ship went down in the Atlantic, and that he later used as a buoyancy aid once Titanic went down.

The violin was discovered only by chance when the son of an amateur musician found it in his attic. It was given to his mother by her violin teacher and was left gathering dust.

The discovery was almost too good to be true, prompting experts to have the relic forensically examined by some of the most revered scientific bodies in Britain.

Now, after seven years of testing at a cost of tens of thousands of pounds, the water-stained violin has been proven to be the one played by Hartley on the night of the tragedy.

These pictures show how incredibly well-preserved the rose wood violin is despite its age and it being exposed to the sea for 10 days after the sinking.

There are two long cracks on its body that are said to have been opened up by moisture damage.

The photos also show the corroded engraved silver plate screwed onto the base of the fiddle that provided scientists with they key proof of its authenticity.

The historic violin, said to be worth a six figure sum, will go on public display at the Belfast City Hall, where Titanic was built, at the end of March.

Negotiations are also under way to exhibit it in museums around the world including America. It is likely to be auctioned off in the future.

Titanic experts have described it as the most important artefact associated with the infamous liner to have come to light.

Zen and the Violin: Ten Tips for the Journey

Zen and the Violin: Ten Tips for the Journey
by Terez Rose

So, I’m a meditator, and that’s a good thing to be in today’s world. I’m pretty lame at setting time aside to meditate on a daily basis, however, which is why I head out a few times a year to go on private, silent retreats. Last May’s retreat was particularly effective, for whatever reason, and I returned with greater clarity that has served me well since. I recently compiled an article for the dance community, comparing Zen precepts and my meditation practice to my ballet practice. There are a surprising number of similarities: staying focused on what’s unfolding right there and then; not being distracted by nagging thoughts; remaining wholly present physically and mentally. Then there are the not-so-Zen facets of ballet. It’s all about beauty, grace, the illusion of perfection. It’s competitive. There is an image in your mind you’re doggedly striving for, that you can’t seem to ever reach. Ego, desire, dissatisfaction all have a field day in the ballet studio.
Violinists are not ballet dancers, but they are both still part of the performing arts world. I wondered if some of the same precepts could apply to the violin world. Taking my little list, I revised it for a violin-based readership. Tell me if you agree with any of these.

Gentle tips to help you on your the journey

1) Wherever you are in life, at this very moment, and in your violin practice, is precisely where you’re supposed to be. Even if, at this moment, something feels like a mistake, a mess, a problem that needs to be fixed.

2) Don’t be afraid to fail. You learn far more through failing than you do through succeeding.

3) Strive to remain in the present daily, hourly, in your lesson, your practice time, your life. Try to observe, without judgment, the way your attachments and aversions often dictate your moods, your choices, and consequently limit you.

4) It’s good to improve on a regular basis, set goals for yourself, but don’t withhold satisfaction with the way things are right now. Don’t live your life waiting for the day things will be easier, or better. The reality is, that day in the future when things are “better,” you will find a new “better” dangled before you like a carrot. It’s all an illusion to pull you from your life in the present.

5) It’s all about the journey, the process of learning. Once we stop the learning, we stop living. The destination, believe it or not, is largely irrelevant.

6) Practicing and/or playing the violin is hard, and can be oh, so discouraging. Same goes for life. But it's the hard stuff, these forays outside your comfort zone, the scary (to you) risk taken, that make it so rich and worth living.

7) Observe everything and everyone, including those against whom you compete, with gentle compassion. We are all on this journey, on parallel roads. Each has its bumps and smooth spells. We all made choices in life that put us where we are now. We deserve to be cherished, and respected. Particularly by ourselves.

8) Some days it all comes together. You’ll have moments of startling insight, power, clarity, perfect intonation and musicality. You’ll play like Heifetz/Oistrakh/Milstein/insert-your-favorite-violin-master-here, and it will feel like You Have Arrived.

9) The next day, poof, it’s all gone. “From God to clod,” as my teacher wryly puts it. You decide you haven’t sounded this pedestrian and amateurish in years. Worse, you stay in this less refined space for days, even weeks. None of this should not be construed as failure. It is simply another facet of the learning process.

10) Pain hurts, both the physical and emotional kind. Don’t judge your own pain, even if it stems from competitiveness or disappointment. If it is there, burning, whether or not it is noble, have compassion. Compassion of the self is where it all begins, and is the greatest gift you can give yourself. Harsh self-judgment is nothing more than pain on top of pain.


Most of all, make sure you enjoy the journey. Make it full of music, inside your heart and out.


© 2013 Terez Rose

How To Protect Your Instruments At Music Festivals, While Camping, or Traveling

How To Protect Your Instruments At Music Festivals, While Camping, or Traveling

by Adam R Sweet

The Summer is a wonderful time for music!  What with music festivals, outdoor concerts and events, plus vacationing with the family and camping with the kids, there's always the opportunity to get out the mandolin, fiddle or guitar and pick a few tunes, sing some songs.

So how do you protect your instrument from the inevitable weather/sun/movement damage?

It's not easy!  But here are some tips:

1. Find a shady spot in the tent/car/camper - seems simple enough, but the darker the better.  
2. Keep the instrument or case wrapped in a space blanket - you can get them from any good camping store, or on Amazon.com
3. If backpacking or camping with your instrument, make sure you keep it in its case, then cover that in a space blanket and/or poncho.  Most cases are almost air-tight these days.  If yours is not, you might want to upgrade to one that is.  It will keep moisture out and protect the instrument from extreme heat and humidity.
4. When traveling, make sure your case is down on the floor behind your seat, not on the seat and NEVER in the space behind the window!  That area is the hottest in the car, a sure way of killing your instrument!  The reason for keeping it on the floor is so that it doesn't fall off the seat if you have to stop quickly.  Immobilize it by packing other items around it, or by putting pillows or blankets around it.

Have fun, be safe and don't forget to bring your instrument with you!