Mixing new and old strings

To save money, I'm sometimes tempted to replace just one string which is getting worn out. But it's better to replace a full set of strings. Mixing old and new strings can make a violin sound out of tune. Here's why.

After replacing a string, the main pitch of the strings may be tuned to exactly a fifth apart. But the overtones of the strings are likely to be out of tune. And these out-of-tune overtones will make people perceive the fifth to be out of tune.

Why are the overtones likely to be out of tune? As strings age, the windings can wear away, the string can be flattened where the fingers press against it, it can stretch, and it can collect rosin and skin oils (both on the surface and embedded in the string). This makes the string non-uniform along its length, which produces "inharmonicity"--the harmonics move away from being exact multiples of the fundamental tone. For the technical details, do a Google search on the words "string stiffness inharmonicity".

The out-of-tune overtones really do matter. In fact, at least one study has shown that "pitch judgment is usually dominated by some partials other than the fundamental." See "The effect of inharmonicity on pitch in string instrument sounds" at http://www.acoustics.hut.fi/~hjarvela/publications/icmc00_text.pdf.

Clapping with the music

For most of my life, I was trained to clap on the first and third beats of a measure (in 4/4). What a surprise when my music leader tried to "help" the orchestra by clapping on the second and fourth beats! I've learned to expect this with most pop and jazz music, and it comes naturally when I'm singing, but it still feels wrong to me when I'm playing violin. And I still have trouble coming in on the right beat, if all I have to go by is a complex, off-beat drum rhythm.

Worship leaders, as well as drummers, need to be aware that clapping may cause many fine classically-trained musicians to lose count. When a new instrumentalist joins your band or orchestra, be sure to explain which clapping convention you'll be using.

"I can teach them..."

I sometimes hear a music director, pastor, or other leader mention that they are teaching a group of people to appreciate a new style of music. Chances are, they're deceiving themselves.

When I look at the group the leader is talking about, I don't see individuals growing and learning about the new style. Instead, I see people who don't like the style heading out the door, and people who already like the style coming in. I've seen it in orchestras, bands, choirs, and congregations.

In contemporary American culture, people groups use music to establish their identity. Groups are even named according to their musical taste. Punkers. The Beat Generation. People say to themselves, "if I even appear to like classical music, I'm a sissy," or "if I listened to that rock music, I'd be a heathen." Thinking that merely exposing someone to new music will overcome such strong barriers is optimistic.

People can learn to appreciate new musical styles--my tastes are constantly expanding. But that seems to be more the exception than the norm.

Role playing

There are three primary roles I play as an instrumentalist in church.

As a featured performer, I'm the center of attention. I'm playing a solo as an offertory or special music. I probably chose my own music.

As a pit player, I play with other instrumentalists in an orchestra, usually accompanying a choir number. The attention of the congregation is (or should be!) focused on someone else, or on the group as a whole.

As a worship facilitator, I play with a band or small orchestra to accompany congregational singing. The attention of the congregation is focused on God, or possibly on the experience of singing. Classical training does not prepare violinists for this role, but it is extremely important and uniquely fulfilling.

My approach to preparing the music, how I act when performing, and even what I carry with me varies according to the role I'm playing on a given day. When violinists are frustrated or ineffective in a church setting, it's often because they are in one role, but perceive themselves to be in a different role.

Finally, sometimes I'm on the bench, without opportunity to play. Maybe it's because I'm injured or burned out, or maybe it's because the church has "gone contemporary" and sees no use for instruments other than guitars, keyboards, and drums.

Balancing a violin case

I have a "crescent" violin case, identical to the Regency Signature Super-Light sold by Southwest Strings. It's easy to carry, it's attractive, and it provides good protection for my instrument. But it has some serious problems.

The problems

First, the lid of the case tends to fall closed—a serious problem if it falls while the violin is being lifted out of the case. Second, once the violin is lifted out of the case, the case tends to roll backward.

If you look at the case from the end, it's easier to visualize the forces involved. The lid balances almost vertically on the hinges. Since the lid is about as heavy as the bottom of the case, it's also pulling up and back.

A solution

In discussions in the rec.music.makers.bowed-strings newsgroup, several general approaches emerged: add weights to rebalance the case, insert a wedge to keep the case open, or apply elastic to keep the case open.

Weights

I found some angle brackets which I secured to the front of the case, on either side of the handle. They are heavy enough to keep the case from rocking back (total weight is approximately 0.8 pounds), and they are thick enough that they lift the front edge of the case just enough to keep the lid from crashing down.

Here is what the angle brackets look like:

I removed four screws from the front of the case:

Then I inserted the brackets between the blanket and the body of the case:

When the blanket is in place, it holds the brackets securely in place.

Elastic

Although promising in theory, my experiments with elastic proved fruitless. Because of the great amount of leverage exerted by the lid of the case, one would need an elastic with a VERY strong pull (a high modulus of elasticity). This, in turn, would place a great deal of strain on whatever is used to fasten the elastic to the case, and that strain would be at its greatest when the case is closed (i.e., most of the time).

Playing outdoors

Like most violinists, I have two violins: my "good" one and a "beater" that doesn't sound very good, but is tough and wouldn't be a heartbreaking loss should it be damaged.

If I can answer "yes" to ALL of the following, I'll play my good violin:

• Am I confident that no water will land on my violin? (Rain? Large hail? LAWN SPRINKLERS? Fountains? Beverages? Did I mention automatic lawn sprinklers?)
• Am I confident that there won't be any temperature extremes before, during, or after performance?
• Am I fairly confident that the venue will be free of arbitrary flying objects? (Birds? Firecrackers? Batons? Wasps?).
• Will I have ready access to shelter, in case of a sudden Colorado thunderstorm?
• Will I be able to keep my violin and my case out of sticky hands (of both the thieving and the wandering-toddler variety)?

Your experience may be different...My "good" violin is a decent factory model...it could be replaced, painful as that would be. If it was a unique handmade treasure, then I might be more careful.

I always use my good bow...it's a graphite Codabow, which isn't bothered by most outdoor hazards.

Sometimes I've strung my backup fiddle with loud steel strings, to get a little more volume in an outdoor setting. I use the backup at the last few rehearsals, so both I and the conductor know what to expect.

Whether using a good or a backup instrument, I carry a little playing-outdoors kit: a trash bag (for quick protection against water); lots of extra clothes pins, weights, etc for dealing with wind (enough for myself plus some to give away); gaffer tape (for controlling power or mic cords); a WeatherRadio for the latest forecast; and, if playing at night, a fully-charged ConcertLight stand light (as often as not, something will go wrong with the electricity outdoors).