Essay On The Violin


I Am Violin

I am a violin I did not know it when I was made but I know it now. This story is the story of the beginning of my life, and how i found out what I was and what I live for.

 

I was made in a factory. There I was shaped and given a sparkly green coating.  Then I got my strings. There were four of them, G, a thick and low string, D, a slightly thinner higher pitch string, A, a thin string with a high voice, and E, a very thin and energetic string. My strings hung to me loosely as we were placed in a velvet lined case and were zipped in.

 

As I laid there I met some of my neighbors. Another inhabitant of our case is Bow he is long and hairy, he does not know what will happen to us. I am very frightened laying there in the darkness.

After I don’t know how long, we are moved. We are flown in a big cargo plane with lots of other stuff. We land safely and all the contents of the plane are put in a warehouse. We aren’t in a warehouse that long.

 

We are put in a truck and driven out. Bow fears for the worse and I am inclined to agree with him. My strings however are happy to be going new places.  


 

We are delivered and a creature (I know now as a woman) opened our case. She stared at us and we stared back at her. She beckoned to two other creatures and they too stared at us and more specifically me.  She closed our case once more and took us into a different room. She put us on something soft and squishy.

 

We lay there so long I fell asleep. I was awakened by something opening our case. The girl who opened our case squealed with excitement when she saw me.

 

What happened next was the oddest thing in my life. She put something called a “Bridge” underneath my strings. Then she tightened my strings. She tightened my strings so tight my spine started to bend.

 

Then she got another bow. We call him old Bow because he has  been here the longest and knows the  most. The girl put me on her left shoulder and pulled the hair on old Bow over my strings.

I had never felt this way. All the vibrations made me sing. i had never known that I could make a sound with such beauty.

 

She “practiced” with me. i didn’t  know i could be this happy. We played scales and arpeggios, and i got hooked on this feeling. The feeling of the vibrations and the connection with my strings I need it. I never wanted this moment to stop, but all good things must end, the glorious, melodic, sounds that i was making suddenly became harsh, violent screams. I wanted to stop the noise but i didn’t know how or why I was making these noises. The girl smiled patiently and tightened my strings again, for they had gotten very loose in our practice.

 

The next day she took me somewhere. She left me there. A big fuzzy guy drilled a hole in the back of my body. Then he glued in something that has become a part of me. He is called “shoulder rest”. Since the glue is not dry we are put in clamps.

 

The big guy told the girl that the reason our practice was sounding bad was me. I couldn’t believe that i was the reason the wonderful music had stopped. I thought that the girl would be mad at me for sounding bad, but she could not stop smiling and staring at me in a loving way. The girl couldn’t help but love me even though i hated having my strings so tight and i didn’t know anything about what i am. Even though she pulled my strings and is leaving me in this strange place where I don’t know what will happen to me.  I can’t help but love her. Mostly because I can’t make that wonderful magical music without her (believe me I have tried). It saddened me to see her leave, but there was nothing i could do.

 

Then what disturbed me the most is I heard the voice of my human talking to another human about taking another violin (whatever that is) to a place called school. Jealousy coerced threw me. I didn’t know that I am a violin too or that there will be many other times when the girl would need me at school all I knew was that i wasn’t going.

 

I spent all day in my case but I was not that sad because the girl had moved Old Bow in to our case. He told us what we are. He told us our purpose in life. I am rather glad that I am what I am. According to Old Bow I will spend my entire life making that magical music that I can’t live without. I make a silent vow to the girl wherever she is that I will be the best violin she  will ever have.

 

After school she came back and got me. I was completely out of my mind with happiness at the very sight of her. The big guy said that i was all tuned and ready for her. Old Bow told me that tuning was tightening my strings until they were the right pitch. I could get used to the tuning if I could make music again.

 

The girl took me upstairs and we practiced. I was tired by the end but the girl never stopped smiling, which made me very happy. She put me in my case but didn’t close it, so I could see everything in my new home. she went over to a desk and started writing. Every few minutes shes would look at me quizzically but she never got up.

 

The other human her mother walked in the room and asked her what she was doing. The girl replied that she was finding a name for me. I was thrilled I was going to get a name. At first she tried translating the word “green” in to other languages but apparently she didn’t like any of them. There was one name that she thought might fit but we never speak of it. The girl was going to call me the Swedish word for green, but she wanted something more awesome more rock and roll for my name but what she couldn’t decide.


What finally happened to get my name was when we were listening to someone play one of her favorite band’s songs on the violin. The violin in the video we watched was playing “twenty-one guns” by Green Day a song that i have since played many times. I have played many songs from composers and bands and i have found out what life is for. Life for me is being a rock and roll violin one day and being a steampunk violin the next. All to make that girl happy. My name is Billie Joe and i am a violin.  


© Copyright 2018 nightshade bloodmoon. All rights reserved.

The violin is a string instrument which has four strings and is played with a bow.[1] The strings are usually tuned to the notes G, D, A, and E.[2] It is held between the left collar bone (near the shoulder) and the chin. Different notes are made by fingering (pressing on the strings) with the left hand while bowing with the right. It has no frets or other markers.

The violin is the smallest and highest pitched string instrument typically used in western music.[3] A person who plays the violin is called a violinist. A person who makes or repairs violins is called a luthier.

The violin is important in European and Arabian music. No other instrument has played such an important part in Europe. The modern violin is about 400 years old. Similar string instruments have been around for almost 1000 years. By the time the modern orchestras started to form in the 17th century, the violin was nearly fully developed. It became the most important orchestral instrument. Nearly every composer wrote for the violin. It is used as a solo instrument, in chamber music, in orchestral music, folk music, and in jazz. The violin is the most popular instrument for children[source?].

The violin is sometimes called a “fiddle”. Someone who plays it is a “fiddler”. There is even a verb, to “fiddle", which means “to play the fiddle”. This word can be used as a nickname for the violin. It is properly used when talking about folk music.

History[change | change source]

The word “violin” is related to the word “viol”. The violin was not made directly from the instruments called viols. The word violin comes from the Middle Latin word vitula. It means stringed instrument.[4] This word is also believed to be the source of the Germanic “fiddle”.[5] The modern European violin changed over time from many different bowed stringed instruments. They were brought from the Middle East[6] and the Byzantine Empire.[7][8] Most likely, the first makers of violins took ideas from three kinds of current instruments. They are the rebec, in use since the 10th century,[9] the Renaissance fiddle, and the lira da braccio.[10] These instruments were held under the chin and bowed.

In the 17th century, there were several families of luthiers who were very good at making instruments. The most famous violin makers were Stradivarius, Amati, and Guarneri. Some of the instruments that these luthiers made are still here today. They are kept in museums all around the world. They are some of the best instruments in existence.[11] They can have prices over one million dollars.[12]

Construction[change | change source]

The biggest part of the violin is the wooden body. This acts as a resonating box. It makes the vibrating strings sound louder. Many of the parts of the violin are named after parts of the body. The front is called the “belly”. The back is called the “back”. The sides are the “ribs”. The strings go from near the top of the “neck” down the “fingerboard” and on to the “tail piece”. The strings go across the bridge halfway between the end of the fingerboard and the tailpiece. The bridge is not fixed onto the violin. It is held in place by the strings. The strings keep it in place because they are so tight. If the strings are completely loosened, the bridge will not stay on. The bridge helps to send the vibrations of the strings down to the body of the instrument. Inside the body there is a “soundpost”. This is a small piece of wood. It looks like a small finger. It goes from the belly to the back. The soundpost is also held in place by the strings. In the middle of the belly there are two long, curved holes. They are called “f holes”. This is because of their shape. The top of the strings are wound around pegs. The violin can be tuned by turning the pegs. The very top of the neck is called the scroll. Violins today also have a chinrest. This helps to hold the violin against the player's shoulder. A shoulder rest can also be used. These are now made of foam. They have special legs to hold them on to the violin. Many beginners prefer to use a sponge and an elastic band instead.

To make it easier to tune the violin, many people find it helpful to have “adjusters” for “fine tuning” when the string is only slightly out of tune. These adjusters go through holes in the tailpiece. They stop the strings from slipping when being tuned.

Strings used to be made of gut. They are now mostly made of steel or nylon. Adjusters can only be used with some strings. The front of the violin body is made of spruce. The back and sides of the body are made of maple. The bow can be made of several kinds of wood. An example would be pernambuco. Some players today use bows made of carbon fibre. The bow is strung with horsehair (horsehair is hair that comes from the back of the horse's head also known as the mane or from the horse's tail).

Playing[change | change source]

It takes years of practice to become a good violinist. A beginner will start with pieces and or exercises that do not require precise or complicated technique in right or left hand. Some examples of pieces that do not require great technique are "twinkle twinkle little star" by Mozart, "Children's Song" (A German folk tune), and "Over the Rainbow." During these "simple" songs, the violinist will develop fundamental skills necessary for all other techniques, such as proper bow and violin holding. As the musician develops more and more confidence and skill in both left and right hand, pieces and exercises will become progressively more difficult. When necessary, they will also learn techniques and skills that will enhance their playing. Vibrato, smooth bow changes in the right hand, and shifting.

The violinist has to learn to put the fingers in exactly the right place so that the music is “in tune”. This is called intonation. The musician will also learn vibrato. This changes the intonation of each note slightly by making it a little bit sharper (higher), then a little bit flatter (lower), producing a kind of wobble. This is important in many styles of music to create mood.

Besides plucking (pizzicato), there are many special effects. Some of them are glissando, portamento, and harmonics. There is also double stopping, chords, and scordatura tuning.

The violin can be played either standing or sitting down. When playing solo music the violinist normally stands. When playing in chamber music or in orchestras the violinist sits, but this was not always the case. When sitting, the violinist may have to turn his or her right leg in so that it does not get in the way of the bow.

Music[change | change source]

In the 17th and 18th centuries, composers wrote a lot of music for solo violin. Many of these composers were from Italy. They were themselves violinists. Some of these violinists are Corelli, Vitali, Vivaldi, Veracini, Geminiani, Locatelli and Tartini. In Germany, Schmelzer and Biber wrote some very virtuoso violin music. Later, in the early 18th century, Bach and Handel wrote many masterpieces for the violin.

In the Classical music period, the great composers Haydn, Mozart and Beethoven all wrote solo works for the violin. They also wrote a large amount of chamber music, especially string quartets.

In the Romantic period many virtuoso violin works were written. These include concertos by Mendelssohn, Saint-Saëns, Brahms, Bruch, Wieniawski, Tchaikovsky, and Dvořák. In the 20th century, many virtuoso works were written. These include Elgar, Sibelius, Szymanowski, Bartók, Stravinsky, Berg, Prokofiev, Shostakovich, Hindemith, and Penderecki. In the 19th century, Niccolò Paganini was the most famous violinist. He composed and played violin music that was harder than anything that had been written before. People compared him to the devil because he could play so brilliantly and because he looked thin and moved his body about in strange ways.[13]

In recent years the violin has also been used in jazz playing. Stéphane Grappelli was especially famous for this.

Famous violinists[change | change source]

Some of the most famous violinists of the last century are Fritz Kreisler, Jascha Heifetz, David Oistrakh, Yehudi Menuhin, Ida Haendel, and Isaac Stern. Today some of the greatest players include Itzhak Perlman, Maxim Vengerov, Vadim Repin, Nigel Kennedy, Hilary Hahn, Joshua Bell and fiddler Sara Watkins.

Related pages[change | change source]

References[change | change source]

Further reading[change | change source]

  • Galamian, Ivan (1999). Principles of Violin Playing and Teaching. Ann Arbor, Minnesota: Shar Products Co. ISBN 0-9621416-3-1. 
  • Strange, Patricia (2001). The Contemporary Violin: Extended Performance Techniques. Berkeley, California: University of California Press. ISBN 0-520-22409-4. 
  • Thede, Marion (1970). The Fiddle Book. Oak Publications. ISBN 0-8256-0145-2. 
  • Bardfeld, Sam (2002). Latin Violin. Milwaukee, Wisconsin: Hal Leonard Publishing Corporation. ISBN 0-9628467-7-5. 
  • Stowell, Robin (1992). The Cambridge Companion to the Violin. Cambridge: Cambridge University Press. ISBN 0-521-39033-8. 
  • Beament, James (1992/1997). The Violin Explained - Components Mechanism and Sound. Wotton-under-Edge, Gloucestershire: Clarendon Press. ISBN 0-19-816623-0. 
  • Hill, William Henry (1902/1963). Antonio Stradivari, his life and work, 1644-1737. Chemsford, Massachusetts: Dover Publications. ISBN 0486204251. 
  • Bachmann, Alberto (1965/1990). An Encyclopedia of the Violin. Cambridge, Massachusetts: Da Capo Press. ISBN 0-306-80004-7. 
  • Coetzee, Chris (2003). Violin - An Easy Guide. London: New Holland Publishers. ISBN 1-84330-332-9. 
  • Menuhin, Yehudi (1996). The Violin. France: Groupe Flammarion. ISBN 2-08-013623-2. 
  • Gill, Dominic (1984). The Book of the Violin. London: Phaidon Press. ISBN 0-7148-2286-8. 
  • Heron-Allen, Ed (1885/1994). Violin-Making as it was, and is. London: Ward Lock Limited. ISBN 0-7063-1045-4. 
  • Farga, Franz (1950). Violins & Violinists. Rockliff Publishing Corporation Ltd. ISBN 0214158063. 
  • Charlton, Jennifer A. (1985). Viols, Violins and Virginals. Oxford: Ashmolean Museum. ISBN 0-907849-44-X. 
  • Rowland-Entwistle, Theodore (1967/1974). The Violin. Chemsford, Massachusetts: Dover Publications. ISBN 0-340-05992-3. 
  • Stowell, Robin (2001). The Early Violin and Viola. Cambridge: Cambridge University Press. ISBN 0-521-62555-6. 
  • Regazzi, Roberto. The Complete Luthier's Library. A Useful International Critical Bibliography for the Maker and the Connoisseur of Stringed and Plucked Instruments. ISBN 88-85250-01-7. 
  • Dubourg, George (1854). The Violin. Robert Cocks & Co. ISBN 0548373175. 
  • Stowell, Robin (1985). Violin Technique and Performance Practice in the Late 18th and Early 19th Centuries. Cambridge: Cambridge University Press. ISBN 0-521-23279-1. 
  • Sandys, William (2006). History of the Violin. Chemsford, Massachusetts: Dover Publications. ISBN 0-486-45269-7. 
  • Katz, Mark (2006). The Violin: A Research and Information Guide. London: Routledge. ISBN 0-8153-3637-3. 

Other websites[change | change source]

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  1. ↑Adams, John S. (1865). Adams' New Musical Dictionary of Fifteen Thousand Technical Words, Phrases, Abbreviations, Initials, and Signs Employed in Musical and Rhythmical Art p. 252. S. T. Gordon and Son. Retrieved on 27 March 2010
  2. "About the Violin". Retrieved 27 March 2010. 
  3. ↑Hoffer, Charles (2009). Music Listening Today 3rd Edition p. 30. Schirmer Cengage Learning ISBN 0-495-56576-8. Retrieved on 27 March 2010
  4. "Etymology of viola". Online Etymology Dictionary. Retrieved 2008-09-26. 
  5. "Etymology of fiddle". Online Etymology Dictionary. Retrieved 2008-09-26. 
  6. Hoffman, Miles. "The NPR Classical Music Companion: Terms and Concepts from A to Z". Chicago Symphony Orchestra. Archived from the original on 7 December 2008. Retrieved 2008-09-26. 
  7. ↑Grillet 1901, p. 29
  8. ↑Margaret J. Kartomi: On Concepts and Classifications of Musical Instruments. Chicago Studies in Ethnomusicology, University of Chicago Press, 1990
  9. Panum, Hortense (1939), The Stringed Instruments of the Middle Ages, Their Evolution and Development, London: William Reeves, p. 434 
  10. Arkenberg, Rebecca (2002). "Renaissance Violins". Metropolitan Museum of Art. Retrieved 2006-09-22. 
  11. The Etude Presser's Musical Magazine, Philadelphia, PA, August 1916, pp. p. 274, retrieved 27 March 2010 
  12. "Prices of Stradivarius Violins". Stradivarius Violins. Retrieved 29 March 2010. 
  13. ↑"The Violin and Viola" by Sheila Nelson, ISBN 0-510-36651-1 p.143

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