It is the belief among a certain class of players (who are not by any means always amateurs), that an ear-splitting sound indicates a violin possessed of all the requirements of a first-class fiddle. When they discover such an instrument it is treasured above pearls, notwithstanding their progress and popularity are in no wise enhanced by its possession. An artist once called upon a continental expert with an old French fiddle. It had cost a considerable sum, and was looked upon by its owner as perfectly ideal in tone. The expert differed, however, but expressed his opinion as mildly as possible, merely observing that the tone was hardly suited to the artist’s talents! This opinion the said artist received with some show of pique. Later, this violinist began studying under a celebrated master, who condemned the thing in language both forceful and picturesque; and a better toned instrument was procured.
While most of the great violinists use instruments with which no tone fault can be found, others are not so happy in their possession, although, doubtless, quite satisfied themselves. Among these last are two whose names are household words, and the fault lies in the two lower strings of their violins, the sounds from which are scarcely audible in a fair-sized hall, although the hearer may sit only some thirty feet distant—axioma medium!
There are players so accustomed to the tone of one violin that they are utterly incapable of correctly judging the tonal qualities of another. I once met a player of no mean ability who owned and played upon a factory-made instrument which emitted a miserably flat and thin tone. Yet this fiddle had been treasured and used for twelve years! No other violin “suited” so well! although many excellent instruments had been tried. Such extreme cases of self-deception as this are, fortunately, rare, but they are occasionally met with.
Accessories and Tone.—So far as the player is concerned, the important accessories are the strings, bridge and sound post, and with these it is not advisable to experiment. The post and the bridge are usually correctly proportioned and in their proper positions. The former may fall when all the strings are loose, and because of this it is well to keep them fairly taut always. When the violin is not in use I consider the E and G strings may be slightly lowered, the first to prevent unnecessary breakage and the last to prevent thinning of the core and consequent “buzzing.” When a string breaks put a new one on at once. If the instrument is to be restrung throughout, change one string at a time. It is well for the player to bear in mind that resetting the sound post may seem a simple matter, but that it is not so simple as it appears. Not one player in a thousand can accomplish this operation properly, or without some damage to the instrument. The position of the post should be marked on the back of the violin by inserting a thin pencil through the right-hand sound hole and marking as far as possible, and faintly, around its lower end. If the post falls, take the instrument to the nearest repairer.
The bridge is almost indestructible if it receives proper attention. It is important that it should lean slightly towards the tailpiece, never be upright, nor lean towards the finger-board. Watch the bridge frequently when tuning up, or when putting on a new string. The E string is a particular offender owing to its high tension and the frequency of its tuning and renewal. It pulls the upper right-hand corner of the bridge forward. Pay constant attention to the bridge and keep it in the correct position. This pulling forward may be somewhat overcome if the nicks wherein the strings rest are leaded, using the sharp point of a soft pencil.
Every player should possess a string gauge on which is marked the sizes most suitable for the violin. Tone is greatly influenced by the hardness, softness, or size of the strings, and the player should ascertain by experiment what is most suited to the instrument and keep to that. It is rare that two violins are exactly alike in their string requirements, and they also differ in temperament: that is to say, one may demand a certain size and kind of string before the best results are obtained, while another will respond very well without more than ordinary care in selection.
The Bow.—This important accessory should be selected with care. It has an important part in the production of tone, to say nothing of that technic which belongs to it. It is said that a really good bow of correct balance, flexibility and weight, is more difficult to find than a good toned violin. Only the few can afford a bow by Tourte, or other famous makers, but really fine modern bows may be obtained at reasonable prices from most of the dealers, and especially from those who are, in addition, bow-makers. Just as one may become used to a violin of faulty tone, so also may the player become used to a bow which adds to his tonal and technical difficulties. A good “stick” is a treasure and should be well cared for. When not in use the tension should be entirely removed. The stick should be kept perfectly clean, especially on the under side, and the screw oiled occasionally.
The Fiddle “Doctor.”—The simplicity of the fiddle is deceptive. It is not only not so simple as it appears, but of all musical instruments requires the most knowledge and skill in its repair and adjustment. Any player may apply the means by which tone can be preserved, and this is best accomplished by keeping the violin in a cleanly condition and healthy surroundings; but “accidents will happen,” or something peculiar in the tone will indicate the need of attention, and in either case, it is the luthier and not the fiddle “doctor” who should be consulted. Skilful repairers are to be found in practically every city in the world, and in their hands the ailing violin may be left with confidence.
CONCLUSION
And now a few words regarding the process of regulating and developing the tone of a violin. It would in my judgment serve no useful purpose to attempt to publish details of the means employed, as I am satisfied that nothing short of practical exposition and demonstration (coupled with experience) will suffice to convey the knowledge which must be acquired by any one desiring to command anything like uniform success. “Thicknessing,” as it is termed, upon which such success is very largely dependent, is a variable and complex operation and cannot be learned from books; and the most that can be said is that after a violin is built its tone can be fundamentally altered, regulated, and developed by internal and external means to give such final results as the maker, or operator who develops the tone, may consider to be ideal. This is well enough understood by the best makers, but, for reasons which are fairly self-evident, those who practise it are very few indeed.