Violin: history, video, interesting facts, listen. Budget and expensive violins Types of violins by sound

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?

Of course, a win-win option is to 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 reality 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:

1. Length from the curl (head) to the bottom of the body (excluding the button, the part on which the headstock is attached).
2. 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 extends 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 student's individual characteristics 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 stretch his left arm slightly to the side, without straining, then place the violin on his 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 now flooded with a huge number of Chinese instruments that 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 child’s growth rate, this instrument will require replacement after 3-9 months.

However, there is a second caveat: it is easier to play on 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, the right hand will not fully extend, and if it is large, 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 a 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 automaticity and not cause discomfort, which is impossible with an incorrectly selected instrument.

In the process of human development and the emergence of social relations, a need arises for understanding artistic, aesthetic and cultural values, and creating trends in all types of art.
The centuries-old process of development of stringed instruments in Europe has a rather complex internal structure and should be considered in the complex of musical, artistic performing and composing activities.
The development of the artistic tastes of society creates a need for the creation of appropriate musical literature, new forms of music-making, and improvement of performing techniques.
The desire to create “singing” stringed instruments stimulated the search for various forms of musical expressiveness, emotionality and warmth inherent in the human voice and determined the direction of the evolution of musical culture.
The genesis of the violin is still a subject of research, debate, and speculation. There is no doubt that in the history of reconstruction and improvement of the violin, no one can be given the palm. The idea of ​​the violin has been established for centuries, as evidenced by the centuries-long process of discovery and improvement of many different types of musical instruments. The process of formation of bowed instruments begins with the appearance and use in musical practice of the 13th century of the guitar-like fiddle and mandolin-like rebeck.
There is no doubt that the violin, before acquiring its final form, was subjected to all sorts of experiments. Instruments were made that were convex like a mandolin, high, low, flat, and holes were cut out in different parts of the body in the form of a circle, a straight strip, or a saber. Instead of a curl, different figures were made (lion and human head, etc.).
The formation of the violin took place in parallel in different countries of Europe - Italy, Germany, Poland, France. The orchestral family of violins received its final, classical incarnation at the end of the 16th century in Italy and began to displace its predecessors
It should be noted that the evolution of the sound of stringed instruments occurred in two directions. On the one hand, instruments were made with a strong, strict, low timbre and inflexible sound, and on the other hand, instruments were made with a gentle, clear, high timbre, but not powerful enough.
Prominent representatives of the first direction are the masters of Brescia (Italy) Gasparo de Salo (1542 - 1609) and Paolo Magini (1580 - 1632), as well as the Polish master Marcin Groblich Sr., who worked in Krakow around this time. The timbre of the sound of the violins of the Brescia masters resembled the sound of viols; that is, with great strength, it was veiled, sort of like an alto in character.
It is pleasant to consider the founder of the Cremona school of masters (Italy) Andrea Amati (1535 - 1611) - one of the great violin reformers - as the founder of another direction.
By changing the design of the instrument, reducing its size compared to the Brescian ones, adding a different character to the contours, lowering the sides and increasing the arches of the soundboards, the Cremonese master managed to give the sound of his violins a timbre close to the human voice. In his mature works, Andrea Amati finally develops the completeness of the classical form of the violin.
The wide popularity of this particular type of instrument and its sonority is explained by the fact that until the last decades of the 18th century in Europe, music was mainly performed in small rooms for a limited circle of listeners, and the Amati violin filled large halls with its sound.
Over time, musical performance leaves the closed circle of its connoisseurs and becomes widespread. Concerts begin to take place in large rooms filled with fairly crowded audiences. From the instruments - violin, viola, cello and double bass - a strong, bright sound is needed here, capable of filling concert halls where works created for soloists, various ensembles and the first small orchestras are performed.
In connection with new tasks, masters continually strive to give the sound of bowed instruments greater intensity and scale, while maintaining the softness and beauty of timbre.
In the works of the brilliant Italian masters Antonio Stradivari (1644 - 1737) and Joseph Guarneri del Gesu (1687 - 1745), the combination of elasticity, tenderness with intense sound density reaches perfection.
With the appearance in the 17th century of a galaxy of outstanding violinists and composers of the musical Baroque style - the Italians Arcangelo Corelli (1653 - 1719), Antonio Vivaldi (1678 - 1744), Giuseppe Tartini (1692 -1749), Pietro Locatelli (1653 - 1764), the Germans Johann Sebastian Bach (1685 - 1750) and George Frideric Handel (1685 - 1759), there is a need to further improve the design of instruments of the string-bowed family.
Taking into account the practical requirements for playing in higher positions, the process of establishing a constant scale size is underway (the term “scale” means the length of that part of the string that vibrates and sounds) by increasing the length of the neck and neck of the instrument; the spring, cushion, and stand acquire a classic, acoustically justified shape and size; New materials are used to make strings.

The second half of the 18th century gives the musical art a new impetus for development. A virtuoso-romantic trend in music appears, the brightest representatives of which are the violin virtuosos and composers Giovanni Viotti (1755 - 1824) and Nicolo Paganini (1782 - 1840) in Italy, Ludwig Spohr (1784 - 1859) in Germany. In addition to a significant expansion of the violin repertoire, they made significant contributions to improving the tool. L. Spohr invents the chinstrap, and G. Viotti helps the French master F. Tourte create a new type of bow.
François Tourte (1747 - 1835) replaced the straight bow reed with a concave one, determined that the best material for production was fernamboo wood, applied the arrangement of the hair not in a bun, as was the case before, but in the form of a ribbon, determined the optimal size and weight of the bow: for the violin - 730-740 mm;55-60 g; alta - 60 - 65 g; cellos - 710 mm; 70 - 78 g; double bass - 700 mm; 135 - 150 g.
The use of a bow designed by F. Tourte played a huge role in the development of the technique of playing stringed instruments, made it possible to expand the expressive possibilities of performance, and contributed to the widespread use of a variety of flying and jumping strokes. The classically perfect design of F. Tourte's bows formed the basis for the work of subsequent masters right up to our time.
The pinnacle of the musical classics of the Viennese period is the work of Joseph Haydn (1732 - 1890), Wolfgang Mozart (1756 - 1791) and Ludwig van Beethoven (1770 - 1827).
One of the requirements of classicism was the desire to enhance the orchestral sound, which led to an increase in the quantitative composition of the orchestra, as well as to the emergence (mid-19th century) of the orchestral type of bowed instruments, endowed with a strong, rough-harsh, “timbreless” sound.
Due to the increasing demand for instruments of the violin family, manufactory and factory production is developing greatly, the technical and artistic side of the work of many craftsmen is declining, and the creative basis of such a delicate process as the production of concert stringed instruments for solo performance disappears.
The emergence in the last century of a huge amount of literature on the history, theory and practice of making stringed instruments confirms the beginning of a revival of the art of making violin instruments in European countries. Numerous materials are published on scientific research in the field of acoustics, chemical analysis, various searches and theoretical assumptions are carried out in attempts to establish lost knowledge, to reveal the secrets of the art of making instruments by Italian masters of the 17th and 18th centuries. Such studies are still being carried out.
In the 20th century, associations of violin makers emerged in many countries. Competitions of bowed instruments are held both as part of international festivals of violinists, cellists, string ensembles and others, and separately, the most authoritative among which are creative competitions in Cremona (Italy) - named after Antonio Stradivari, in Moscow (Russia) - named after Tchaikovsky and in Poznan (Poland) - named after Henryk Wieniawski.
In Eastern Europe, including Ukraine, bowed instruments have existed since ancient times. The predecessors of the violin among the Slavic peoples are considered to be the gudok and the so-called “Polish violin”, which were widespread in everyday life in Kievan Rus. Evidence of this is the image of a musician with a bowed instrument such as a whistle on the fresco of St. Sophia Cathedral in Kyiv, which, according to a number of researchers, dates back to the 11th century.

The great popularity of bowed instruments is largely due to the special mentality of the Slavic peoples, their natural musical talent, the basis of which is the unsurpassed culture of solo and choral singing, the characteristic feature of which is sincerity and incomparable melody. The prevalence of different types of musical ensembles, which necessarily include bowed instruments, leads to the fact that playing them becomes an integral part of Ukrainian life, rituals and holidays.
During the 18th and 19th centuries, the process of development of musical culture in Western Europe proceeded very quickly. New types of musical art are emerging: opera, symphonic and chamber music; performance techniques are being improved. Carrying out tours of foreign performers and entire theater groups in Eastern Europe makes it possible to enrich the musical life of the Slavic peoples, which stimulates the emergence of numerous amateur and then professional musical groups - symphony and chamber orchestras.
The practice of inviting foreign musicians and masters to serve played a major role in the development of professional musical art in Eastern Europe.
This is how outstanding virtuoso violinists and composers Henri Vietant (1820 - 1881), Heinrich Wieniawski (1835 - 1880), and the founder of the Russian violin school Leopold Auer (1848 - 1930) worked in Russia for a long time.
Among the masters of stringed instruments who worked in St. Petersburg and Moscow, there are famous immigrants from Germany: Franz Steininger (1778 - 1852), Ludwig Otto (1821 - 1887); from France - Ernest Salzar (1842 - 1897), Edouard Arnoux and Auguste Didelot - student of the famous J.B. Villaume. The following people worked in Ukraine: the Frenchman Bastien Marizot, the Pole Ovruchkevich - in Kharkov; in Kyiv - Pavel Khilinsky, who came from Warsaw; Czechs Frantisek Spidlen (1880 - 1916) and his nephew Evgeniy Vitacek (1880 - 1946); later became the founder of the Soviet school of violin makers, who created a harmonious system for constructing stringed instruments based on the harmonic tuning of the soundboards.
The activities of foreign specialists contributed to the emergence and development of national schools of stringed instrument makers.
Among those who achieved world fame and recognition, it should be noted: Ivan Andreevich Batov (1767 - 1841), who for a long time was a serf of Count Sheremetyev; Nikolai Fedorovich Kittel (1806 - 1868), whose bows are considered unsurpassed even now; Anatoly Ivanovich Leman (1859 - 1913) - a comprehensively educated person, a talented master who had thorough scientific knowledge. His theoretical and practical developments in the construction of bowed instruments played a special role in the development and awakening of musicians’ interest in new instruments that could compete with ancient Italian ones.
A special place in the history of the creation and improvement of stringed instruments belongs to Lev Vladimirovich Dobryansky (1862 - 1941?) - popular in Western Europe thanks to his own method of improving the acoustic capabilities of the violin.

Master, artist, jeweler, poet, a man with diverse talents, keeper of the collection of violins of Tsar Nicholas 2 in St. Petersburg, L. Dobryansky lived and worked for a long time in Odessa, where he developed an original model of a violin without corners. Among L. Dobryansky's students is the well-known Kiev restorer of violins and bowed instruments Ivan Leontyevich Bitus (1917 - 2003) - an authoritative expert in the field of antique and ancient instruments.
The further development of the art of creating stringed instruments in Ukraine is associated with the activities of Kyiv masters F. Drapia, S. Koval, O. Pechenko, as well as G. Veitishin (Lvov), O. Voitseshko (Kharkov) and others.
Nowadays in Ukraine there is the Association of Masters-Artists of Bowed Instruments of the National All-Ukrainian Musical Society, founded in 1991 - a voluntary creative association of professional masters of stringed instruments, master restorers, as well as musicologists and scientists who work in this field of art and act on the principles of self-government, mutual assistance, and cooperation. At the moment, the Association unites about 70 members, most of whom are laureates, diploma recipients and participants in international festivals and competitions.

As for the modern professional violin, it must be emphasized that over the centuries, through the creative searches of many generations of masters, a violin model was created that combined an artistically perfect form and a technologically impeccable acoustic design. This allows the performer to achieve a sound similar to the singing of a human voice with its characteristic dynamics and emotional richness.
All musical instruments of the violin family - violin, viola, cello and double bass - consist mainly of identical parts connected into a single structure, which differ only in size. There are about a hundred such parts in a violin.
Main parts of a violin.
The body or cartridge consists of upper and lower decks connected to each other by shells. The decks consist of an upper and lower oval between which cutouts are made - es. The size of the body is determined by the long back from the edge of the upper oval without the heel to the edge of the lower one. The standard size is 355-360 mm.
The top deck is made from a solid piece of spruce or a piece of spruce glued together from two halves. On the top deck there are sound holes - f-holes 76-78 mm long. On the inside of the soundboard, under the bass string, a spring (or bass beam) is attached with a certain tension and shape - made of spruce: 27 mm long, 12 mm high and 5-6 mm wide.
The lower soundboard, like the upper one, can be solid or consist of two parts (sycamore, which is also called white maple).
The shells are six plates (maple) curved in the shape of the decks, the height near the base of the neck is 28-30 mm, and near the button 29-31 mm. The thickness of the shells is 1-1.5 mm. The shells are connected to each other by gluing six pieces of spruce or alder, which are called klotz. Four side patches located in the corners, and an upper and lower one, which have a convex shape. A groove is made in the upper part for inserting a neck, and in the lower part there is a hole for a button.
Hoops. Narrow strips of alder or 2-3 mm wide and 5-6 mm high, which are called hoops or counter-shells, are glued to the edges of the shells on the inside to connect them more firmly with the decks.
Us. Two thin strips of ebony on the sides and one of maple in the center, glued to a depth of 2-2.5 mm, are called a mustache, which is not only a decoration, but also strengthens the structure of the violin.
The neck is made from a single piece of maple and serves to hold the instrument while playing and glue the neck onto it. On one side, the neck smoothly passes into the head, which consists of a peg box and a scroll, and on the other hand, into a heel, which is attached to the upper part of the violin body. The length of the neck from the top edge of the deck to the nut is 130-132 mm. The height of the heel above the deck is 4-6 mm. The recess in the cutout is 4-5 mm.
The neck is a plate of ebony 270 mm long and 4-5 mm thick, the upper part of which has a convex shape. So that the strings do not touch the neck when playing, it is made slightly concave. The deflection can be 1-1.5 mm. The width of the neck near the nut is 23-24 mm, and at the other end it is 42-43 mm. The angle of inclination of the neck with the neck glued to it, which ensures correct body tension and ease of play for the performer, is determined by the height of the top point of the fingerboard above the soundboard (19-21 mm), and the top of the nut should be below the projection of the plane of the edges of the shells.
The upper and lower sills are made of ebony.
The top nut is used to pass the strings over the neck and pegs. For ease of playing in the lower positions, the nut must necessarily follow the configuration of the neck, have a width of 23-24 mm and rise above it no more than 1-1.5 mm. The rational distance between the strings at the top saddle is 5-6 mm, and the depth of the grooves for them, which have a convex bed, should not exceed half the diameter of the string.
The lower threshold serves to smoothly bend the fastening of the headrest through it. The height of the sill above the deck should be 4-4.5 mm.
Pegs exist to tension the strings and are made of ebony or rosewood. The pegs and the holes for them in the well of the violin head must have the same taper and be positioned so that the string, passing from its peg to the saddle, does not catch or fall on adjacent pegs. To achieve smooth, uniform rotation of the pegs in the grooves, which is absolutely necessary for precise tuning, you can take turns rubbing the contact points with dry soap and chalk or a special peg lubricant.
The neckpiece or tailpiece is made of hard wood and fastened with a vein or synthetic loop using a special button. It is desirable that the distance of the grooves for the strings on the fretboard approximately corresponds to the distance between the strings on the stand, and the lower edge of the loop is located no more than 3-4 mm from the lower saddle, which creates the necessary tension on the strings and has a positive effect on the sound of the instrument.
The button serves to secure the headrest and is inserted into the hole made in the lower section. The taper of the button should match the taper of the hole and be the same length as the thickness of the button.
The stand is a maple wedge-shaped plate with figured cutouts, which serves to support the strings and transmit their vibrations to the violin body. The strength, evenness and timbre of the instrument's sound largely depend on the quality of the wood, the shape and thickness of the stand.
The stand is made from seasoned straight-grain maple, radially cut, with well-developed core rays; moreover, the lines of the annual layers must be strictly parallel to its width.
The height of the stand, first of all, depends on the height of the strings at the end of the neck, which should be 2.5-3 mm for the E string, 3.5-4 mm for the A and D strings, and 4.5-5 mm for the G string.
Thus, the height of the stand is 30-32 mm.
The width of the stand should not exceed the distance between the top points of the f-holes, and the center of the left leg should be exactly above the spring.
The distance between the strings on the stand is usually made on the basis that between the outer strings and G there will be 34-36 mm. In this case, the performer must choose a convenient distance between the strings within the following limits: E and A 10-11 mm; A and D 11-11.5mm; re and salt 11.5-12mm.
The thickness of the stand depends on the quality of the wood: the harder the wood, the thinner the stand. The following thicknesses are considered optimal: at the top 1.5-2 mm, at the bottom 4-4.5 mm.
As for the cutouts (windows) of the stand, their shape and size, they are different for each master, and variation in one way or another affects the tuning, changing the character of the sound of the instrument.

The stand is placed on the violin so that the middle line of the soundboard passes exactly under the center of the stand, is located between the internal notches of the f-holes and has an inclination of 3-5 degrees to the fretboard.
The stand must be carefully adjusted to the soundboard, for which a professional violin maker is invited.
The bow is of the utmost acoustic importance in violin construction. Its function is to balance the resistance of the violin body to the pressure of the string to ensure the transfer of vibration from the top soundboard to the bottom.
Dushka is a cylindrical rod made of seasoned spruce with annual layers of 1-1.5 mm and a diameter of 5-6 mm. It is located in the middle of the violin body behind the right leg of the stand. The distance from the head to the stand largely depends on the thickness of the instrument decks and can range from 1 to 4 mm.
The actual fitting and installation of the hood is a complex, painstaking work that requires great precision and professional skills.
The chinrest is of great importance for the convenience of playing the violin, the choice of which is made individually for each performer, based on his physiological characteristics. The material from which the chinrest is made and the place where it is attached to the body of the violin significantly affects the sound of the instrument.
The bridge is also important for the convenience of playing the violin. Most modern violinists use bridges of various types, manufactured by numerous factories.
When choosing a bridge, it is necessary that its design meets the following requirements:
Firstly, the bridge should be comfortable when holding the instrument while playing, and not hinder the performer’s movements. Taking into account the anthropological data of the player, it is necessary to establish the height of the bridge and select the location of its attachment on the body of the violin;
secondly, the bridge should not compress the lower soundboard so much as to limit its vibration, thereby negatively affecting the sound of the instrument;
thirdly, fastening the bridge should not damage the body of the instrument.
An integral part of professional violin musical performance is violin care. Loving and protecting your violin and taking care of it is an integral part of the life of a true musician.
Born from the mind and soul of the master, created through painstaking, selfless work, the violin suits the performer, becomes his integral part, a faithful companion, a voice with which one can express the most secret thoughts and feelings.
Being an extremely sophisticated acoustic instrument, the violin is sensitive to any changes in its environment. It should be noted that the climate zone of Ukraine is characterized by significant temperature fluctuations - from frost in winter to heat in summer.
In such conditions, the preservation of the instrument largely depends on the quality and internal equipment of the case. For comfortable storage of the instrument, a spacious case is selected, which has the most heat-resistant qualities.
The violin should be in a special bag made of thin, dense fabric that creates a favorable microclimate.
Behind the violin you need to have several (for different uses) napkins made of soft fabric: to remove rosin dust from the soundboard, neck and strings; to remove dirt and sweat from the neck and shell; for wiping the body of the instrument, maintaining the cleanliness and noble shine of the instrument. You should not allow rosin to stick to the deck, as it sticks tightly to the varnish, making it much more difficult to remove.
It is recommended to clean the inside of the violin in this way: place a glass of heated oats or washed and dried rice in the body, vigorously shake the grain in all directions, and then remove it through the f-holes. Some experts recommend using crumbs of fresh black bread pulp for such cleaning.
Nowadays, factory-made violin cosmetics such as polishes, mortar lubricants, and special cleaning fluids are very popular. When using these products, you should be careful: you must read the instructions very carefully and follow them strictly to avoid damaging the instrument.

The selection and installation of aesthetically attractive, harmonious, beautiful and reliable fittings is an indicator of the owner’s attitude towards his instrument.
Love your violin and it will love you back!

Often in symphony orchestras the violin is used to conduct the main musical theme. This role can be played by one or more violins. The solo violin belongs to the first violinist. By the way, it is better to start learning to play the violin from the age of four.

Currently, there are several main sizes of violins on the music market. For example, a 1/16 size violin will suit the smallest musicians. The most popular sizes are considered to be 1/8, 1/4, 1/2, ¾. Typically, such musical instruments are selected for children who are already studying at a music school or have recently started studying. For the average adult, the best instrument is a 4/4 size violin. Violins of intermediate sizes 1/1 and 7/8 can also be created. However, they are the least in demand.

There are also three main categories of violins - artisan, factory and factory. Craftsmen are called handmade musical instruments. They are usually made for a specific customer and can be passed down from generation to generation. Mostly craftsman violins are full-size.

Manufactured violins are instruments from the beginning of the last century. True, among them you can find broken and then restored instruments. Therefore, it is better to buy such a violin from a professional.

Factory violins are usually called modern musical instruments that are made in various factories. True, violins of this level are a basic and budget option. They will have no value on the secondary market.

How to choose the right violin

In order to select a violin for yourself, you need to place it on your left shoulder and extend your left hand in front of you. In this case, the head of the violin will be in the middle of the musician’s palm. The fingers should completely encircle the head. Modern consumers can choose a classic or electric violin.

Some musicians prefer only classical violins because the electric version of the instrument cannot produce the same clear sound. Moreover, it is simply impossible to play an electric violin in a symphony orchestra. In timbre and tonality it is very different from the classical version. When buying a violin, you should not choose the first instrument you come across.

You can order the services of violinists in Moscow on the website. Yudu performers offering their services are ready to go to any address you specify to give a concert. On Yuda you can inexpensively order the services of violinists at:

• wedding ceremony
• gala event
• anniversary
• romantic meeting

Prices for services of Yudu performers

In the price list, which is posted on the website, you can see the approximate prices for the services of musicians in Moscow. Yudu performers offer musical accompaniment at approximately 20-40% cheaper than in specialized companies. If you need a violinist, the price for his services will depend on the length of the concert program.

To find out exactly how much it costs to order musical accompaniment from Yudu performers, leave a request and indicate in it:

• place where the event will be held: at home, in a restaurant, on the street
• special wishes for the concert program
• date when the services of musicians are required

Features of the provision of services by Yudu performers

Experienced performers are registered on the YouDo website, including violinists who offer outdoor concerts. By using their services, you will have the opportunity to independently create a concert program to your liking. Yudu's performers guarantee an individual approach to each order and service at a high professional level.