<?xml version="1.0" encoding="UTF-8" ?>
<feed xmlns="http://www.w3.org/2005/Atom">
    <link href="https://www.corilon.com/gb/library/practical-advice/?sAtom=1" rel="self" type="application/atom+xml" />
    <author>
        <name>Corilon violins</name>
    </author>
    <title>Blog/Atom feed</title>
    <id>https://www.corilon.com/gb/library/practical-advice/?sRss=1</id>
    <updated>2026-04-29T06:29:28+02:00</updated>
    
        <entry>
            <title type="text">The Chaconne by Johann Sebastian Bach (BWV 1004)</title>
            <id>https://www.corilon.com/gb/library/practical-advice/johann-sebastian-bach-chaconne</id>
            <link href="https://www.corilon.com/gb/library/practical-advice/johann-sebastian-bach-chaconne"/>
            <summary type="html">
                <![CDATA[
                
                                            The Chaconne by Johann Sebastian Bach is one of the most famous compositions for violin – about its structure, historical context and interpretations
                                        ]]>
            </summary>
            <content type="html">
                <![CDATA[
                 The Chaconne from Johann Sebastian Bach&#039;s Partita No. 2 in D minor is considered one of the most impressive compositions in the violin repertoire. Many performers and researchers see it as more than just a technical masterpiece and interpret the piece as a musical expression of personal grief. Possibly written in memory of Bach&#039;s first wife, the Chaconne combines emotional depth with compositional rigour. Its effect is based on a quiet intensity that still moves today – and its decoding poses major questions for musicians and musicologists alike. 
 Bach Chaconne: Overview 
  1. The Chaconne – structure, number symbolism and intertextuality  
  2. The context of the Chaconne in the life and work of J. S. Bach  
  3. Arrangements and transcriptions of the chaconne  
  4. Important chaconne interpreters  
  5. Sheet music: important editions of the chaconne  
  6. The right violin for the chaconne – instrument selection in a historical and modern context  
 1. The Chaconne – Structure, Number Symbolism and Intertextuality 
 Structure of Bach&#039;s Chaconne 
 Bach&#039;s Chaconne is a monumental work with 256 bars – more than the four preceding movements of Partita No. 2 in D minor (BWV 1004) combined, which form its immediate context. It is based on the form of the  ostinato , in which a recurring bass forms the foundation. In this, Bach draws on Italian tradition, in which the theme often appears and is difficult to recognise. In the chaconne, the bass motif alternates between a  lamentobass  (D-C-B-A) and a  passus duriusculus . 
 Number symbolism and intertextual references in Johann Sebastian Bach&#039;s Chaconne 
 The complexity of the chaconne is reflected in the abundance of  scholarly analyses , among which even the structures to be interpreted are often disputed. Various analyses assume a  structure  of 64 four-bar variations, while others divide the chaconne into 34 variations, in which the first four bars occur eight times and all eight bars occur another 26 times. The  three-part structure  – an initial section in a minor key with 33 variations, a major-key middle section with 19 variations, and a final section in a minor key with 12 variations – leads to a dramatic intensification as the number of variations per section decreases: The music becomes more intense and denser, the cadences occur earlier. In addition, diatonic and chromatic passages, minor and major tonalities, broken chords and scale runs contrast with each other. The  polyphony , often only hinted at, is suggested by skilful voice-leading, as can also be found in a similar form in Bach&#039;s famous cello suites (see below, chap. 2). 
 &amp;nbsp;    
 Building on these structural observations, musicologists have not only analysed the musical architecture of the chaconne in musical terms, but also in  numerological terms ; many authors interpret the division into three sections (minor-major-minor) as a spiritual or biographical narrative. Heinrich Poos, for example, sees the number 4 as an allegory of the four elements or the four seasons (musica mundana), the four ages of man (musica humana) and the four strings of the violin (musica instrumentalis). Other researchers analyse symmetrical structures and suspect that the number 30 – the number of variations before and after the major section – is a deliberate compositional calculation that can also be found in other works such as the Goldberg Variations. 
 In her analysis,  Helga Thoene  goes particularly far. In her book ‘Ciaccona – Tanz oder Tombeau?’ she argues that Bach composed the chaconne as a tomb for his deceased wife. She identifies  hidden chorales , based on the conversion of notes into numbers (gematrics), and discovers references to the church year in the composition.  Judith Bernhardt  argues along similar lines, using a numerical alphabet to identify  names of the Bach family  in the musical text. Critics such as Martin Geck consider such theses to be speculative, but emphasise that number symbolism played an important role in the Baroque period. Geck also warns against relying on printed editions, since only autographs authentically reflect the compositional process. 
 2. Context of the Chaconne in the life and work of J. S. Bach 
 The Chaconne is the final movement of the  Partita No. 2 in D minor (BWV 1004) , one of the six works from the cycle ‘Sei Solo. a Violino senza Basso accompagnato’ (BWV 1001-1006). According to the fair copy, this cycle was written  in Cöthen in 1720 , although its origins may possibly date back to his time in Weimar (1708-1717). In Cöthen, Bach found ideal conditions: Prince Leopold of Anhalt-Cöthen was extremely enthusiastic about music, the court orchestra was excellently staffed and instrumental music was particularly encouraged. 
 Bach&#039;s Chaconne as a polyphonic solo work 
 The ‘Sei Solo’ and the Cello Suites (BWV 1007-1012) demonstrate Bach&#039;s deep  familiarity with the playing technique  of the respective instruments. Despite the lack of a basso continuo, he manages to create dense polyphony and complex harmony. Chordal solo melody, pure monophony and suggestive polyphony are combined in a unique way. 
 The Chaconne occupies a special position – both in terms of virtuosity and expression. Its formal rigour and emotional depth make it a key work in Bach&#039;s oeuvre and a highlight of solo violin literature. 
 3. Arrangements and transcriptions of the Chaconne 
 Arrangements of Johann Sebastian Bach&#039;s Chaconne in the 19th century 
 Over time, Johann Sebastian Bach&#039;s Chaconne has been the subject of numerous arrangements and transcriptions. As early as the mid-19th century, musicians began adapting the work for other instrumentations. Leading figures such as  Felix Mendelssohn Bartholdy  and  Robert Schumann  found it incomprehensible that Bach had written this partita without any accompaniment. Mendelssohn published a piano accompaniment in 1847, followed by Schumann in 1853. The adaptation by violinist  August Wilhelmj  from 1885 is particularly concise, and he even added an orchestral version. 
 The piano transcriptions, starting in the 1850s, reached a peak in 1893 with  Ferruccio Busoni &#039;s adaptation. It is so independent that it is often considered a work in its own right.  Johannes Brahms  also contributed to the variety of transcriptions – with a version for the left hand alone. In addition, versions were created for organ, string orchestra, string quartet, flute, guitar, harp and many other instruments. 
 Religious depth: Helga Thoenes&#039; version of Johann Sebastian Bach&#039;s Chaconne 
 There is also a musical interpretation of the analysis by Helga Thoene discussed in Chapter 1: Thoene provided the work with the chorale quotations she identified, which, in her opinion, serve as a musical cantus firmus. Together with the violinist  Christoph Poppen  and the  Hillard Ensemble , she recorded a CD in which the chorale and the movements of the partita are interwoven. This recording represents a particular form of reception that emphasises the religious and emotional depth of the work. 
 4. Important Chaconne interpreters 
 The chaconne has been and continues to be interpreted by the most important violinists in music history. In its original form for solo violin, it is available in recordings by  Jascha Heifetz ,  Yehudi Menuhin  and  Gidon Kremer . Heifetz&#039;s 1952 interpretation is based on the sheet music edition of his teacher  Leopold Auer , whose romantic playing style – including portamento and spiccato – is not without controversy. 
  Joseph Szigeti , a ‘grand student’ of  Joseph Joachim , recorded a version in 1956 that combined Joachim&#039;s historically informed perspective with romantic interpretation.  Arthur Grumiaux  brought a polyphonic clarity to his recording in 1961, while in 1995  Christian Tetzlaff  combined a baroque-inspired playing style with modern technique – fast tempi, sparing use of vibrato and ornaments. 
 J. S. Bach&#039;s Chaconne in historical performance practice 
  Historically informed interpretations  on  baroque violins , such as those by  Sigiswald Kuijken  (1981) or  Rachel Podger  (1997/1999), show the work in a new light. With an especially unusual performance,  Joshua Bell  secured a place in the history of the interpretation of the chaconne when he played it as a street musician in a Washington metro station in 2008. 
 Yehudi Menuhin considered the Chaconne to be the most important work for  solo violin . The pianist  Hélène Grimaud  describes it as a ‘dance of life and death’ – a work of cathedral-like architecture, which, through its variations, appears like coloured light through stained glass windows. 
 5. Sheet music: Important editions of the Chaconne 
 The Chaconne has been published in numerous editions, which differ greatly in their editorial approach and interpretative orientation.  Early romantic editions  by Auer or Joachim characterised the 19th century. Later  historically informed editions  placed a high value on reproducing the sources as closely as possible. Some editions include fingerings, bowing marks and dynamic markings, while others offer only the pure musical text. For today&#039;s editions, the recognised  Urtext editions  form an indispensable basis; nevertheless, the history of adaptation and interpretation, with the historical achievements of important musicians, represents sources in their own right, which inevitably influence every new examination of Bach&#039;s Chaconne influences every new examination of Bach&#039;s Chaconne and can be fruitfully utilised for artistic approaches. 
 6. The right violin for the Chaconne – instrument selection in the historical and modern context 
 Which violin is best suited for interpreting Bach&#039;s Chaconne? 
 This question is of concern to both interpreters of historically informed performance practice and modern violinists. In Bach&#039;s time, instruments in the tradition of the  Amati family , by  Jakob Stainer  and the early  Stradivari  were widespread. Stainer&#039;s violins in particular enjoyed an excellent, exemplary reputation in German-speaking countries – thanks to their exceptionally high resonance and warm, dark sound by historical standards. 
 An important fundamental aspect in the question of the right violin for the Chaconne is the difference between modern violins and  baroque violins , as they were in Bach&#039;s time: With their shorter neck, lighter bass bar, gut strings and other structural differences, they offer a significantly different sound than the modern concert violins developed in the wake of Stradivari. The softer, more intimate sound of baroque instruments has become established for many contemporary interpretations and seems particularly suitable for the delicate structure of the Chaconne, not only for historical reasons. Overall, it should be noted that violins with a sound that is too mellow or sweet are less suitable for Bach&#039;s Chaconne, as they usually do not adequately reflect the tonal spectrum of the composition.    
 Interpreting Bach&#039;s Chaconne on modern violins 
 But as important as baroque violins are for works like the Chaconne, recordings with   modern violins   show that outstanding interpretations are possible on them as well – and not only when the playing style is based on baroque techniques. The use of vibrato, bowing technique and articulation creates a tension between historical authenticity and tonal assertiveness. Anyone playing Bach today faces a choice: the attempt to recreate the original sound world, or the goal of bringing Bach&#039;s music to life using contemporary means. Both approaches are valid – and both lead to the heart of the Chaconne. 
                ]]>
            </content>

                            <updated>2025-03-27T08:00:00+01:00</updated>
                    </entry>

    
    
        <entry>
            <title type="text">Travelling with the violin - species protection, cultural property protection...</title>
            <id>https://www.corilon.com/gb/library/practical-advice/travelling-with-the-violin-species-protection-cultural-protection-and-customs</id>
            <link href="https://www.corilon.com/gb/library/practical-advice/travelling-with-the-violin-species-protection-cultural-protection-and-customs"/>
            <summary type="html">
                <![CDATA[
                
                                            Information about the most important agreements and laws for traveling with the violin, practical tips and links for a carefree entry and exit.
                                        ]]>
            </summary>
            <content type="html">
                <![CDATA[
                 When traveling with a violin, many musicians think first and foremost about whether the violin case will fit in the carry-on compartment or whether they will have to have their instrument transported as checked baggage in the cargo hold - if they don&#039;t manage to snag an inexpensive extra seat, in which many a well-traveled cellist may have developed a certain virtuosity.  As grueling as the discussions with travel agents and airline employees may be, much more complicated and unpleasant questions can await traveling string players after their happy landing, namely at the counters of customs control. This is because stringed instruments - and that includes not only the  violin ,  cello  and  viola , but also the respective bows! - are often affected by regulations concerning the protection of cultural assets and species, which amateur musicians and young professionals in particular often do not have on their radar when traveling abroad for the first time.  Therefore we inform here about the most important agreements and laws, combined with practical tips and links for a carefree travelling with a violin, entry and exit. 
 Traveling with your violin: Overview 
 
 &amp;nbsp; &amp;nbsp; Cultural property protection - scenarios for entering and leaving the country with a violin 
 &amp;nbsp; &amp;nbsp; Scenario 1: Export of the instrument - travel abroad with your own violin 
 &amp;nbsp; &amp;nbsp; Scenario 2: Regular travel abroad with the violin 
 &amp;nbsp; &amp;nbsp; Scenario 3: Importing the instrument - traveling abroad with a violin purchased abroad 
 &amp;nbsp; &amp;nbsp; Scenario 4: Exporting the instrument for sale abroad 
 &amp;nbsp; &amp;nbsp; Species protection - an issue for string players 
 &amp;nbsp; &amp;nbsp; CITES certificate for traveling with the violin 
 &amp;nbsp; &amp;nbsp; Emergency solution: purchase of a travel instrument 
 &amp;nbsp; &amp;nbsp; Customs when traveling with the violin 
 &amp;nbsp; &amp;nbsp; Checklist and links: Required documents for traveling abroad with stringed instruments 
 &amp;nbsp; &amp;nbsp; Cultural property protection - scenarios for entering and leaving the country with a violin 
 
  Scenario 1: Exporting the instrument - traveling abroad with your own violin   When traveling abroad with one&#039;s own violin, regulations of the German Cultural Property Protection Act, customs regulations and regulations of European law must be observed.  The aim of these regulations is, in short, to prevent the export of important national cultural goods. Therefore, you need an export permit to travel abroad with your violin, even if you do not intend to sell it there.  Such a permit is required  &amp;nbsp;&amp;nbsp;&amp;nbsp; - if the trip is to a non-European country and the instrument is 50 years or older and worth at least 50,000 euros &amp;nbsp;&amp;nbsp;&amp;nbsp; - or if the trip leads to a European country and the instrument is 100 years old or older and worth at least 100,000 euros.  But beware: If you are now sitting back in relief because your instrument cost less than €50,000, you should still read on: Since customs officials are generally not experts in the valuation of stringed instruments, you should have sound documentation on hand even for trips abroad with less expensive violins. Useful documents include appraisals, certificates, proof of purchase, etc.  The federal states are responsible for issuing export licenses; the authority finder on the website www.kulturgutschutz-deutschland.de provides an overview of the relevant authorities - and a download resource for forms. 
   Scenario 2: Regular travel abroad with the violin   One relief for musicians who regularly take their violin abroad, for example for concert tours, is the so-called &quot;specific open permit&quot; for travel with the violin. The same conditions as mentioned under scenario 1 are decisive for its issuance - however, it is valid for 5 years, so that individual permits no longer have to be applied for during this period. 
   Scenario 3: Importing the instrument - entering the country with a violin purchased abroad   Similar to the Federal Republic of Germany, many other countries have protective regulations that govern the export of national cultural property. Therefore, importing an old violin into Germany requires that it has been legally exported beforehand:  &amp;nbsp;&amp;nbsp;&amp;nbsp; - Anyone wishing to import a violin into Germany from its country of origin must first obtain an export license from that country. &amp;nbsp;&amp;nbsp;&amp;nbsp; - The conditions for such a license are, of course, not determined by German law, but by the law of the country of origin. &amp;nbsp;&amp;nbsp;&amp;nbsp; - If an instrument is not exported from its country of origin, but is acquired in another EU country and brought to Germany, the situation is somewhat different. In that case, it must be documented that the violin was already legally brought to the third country before it was purchased - e.g. by providing proof of previous ownership. Such an &quot;acquisition history&quot; must be traceable back to a maximum of 01.01.1993. &amp;nbsp;&amp;nbsp;&amp;nbsp; - In the case of non-EU countries that are members of the 1970 UN Convention for the Protection of Cultural Property, the deadlines are somewhat different. Here, it may be necessary to prove that the instrument was exported from its country of origin before 27.04.2007.  Further information, including a list of the contracting states to the UN Convention on the Protection of Cultural Property, can be found on the official website www.kulturgutschutz-deutschland.de. 
   Scenario 4: Export of the violin for sale abroad   Anyone wishing to take a violin or other instrument abroad for sale requires a final export license under Section 24 of the KGSG. The requirements mentioned in scenario 1 also apply to this obligation - for a violin worth less than €50,000 or younger than 50 years, no such permit is needed. Nevertheless, it should be properly documented - e.g. with appraisals, certificates or invoices - because of the possible misunderstandings at customs control already mentioned. 
   Protection of species - a topic for string players   Independent of the rules of cultural property protection, stringed instruments in particular are affected by the provisions of the Washington Convention on International Trade in Endangered Species. During many trips to non-European countries, especially to the U. S. A., considerable problems can arise when entering and leaving the country - up to and including confiscation of the instrument.  The authorities focus on animal materials that come from protected species and are traditionally used especially in bow making. Tortoiseshell, whalebone and lizard skin are still easy to understand examples; for rare woods such as pernambuco or ebony there are exceptions if they are brought along in processed form (e.g. as a violin bow), but good documentation is recommended in any case, e.g. in the form of an instrument passport. 
   CITES certificate for travel with the violin   The CITES certificate serves as proof for customs control that all materials from protected species used in the instrument were either legally acquired or used at a time when the respective species was not yet protected.  The so-called negative certificate serves a similar purpose: it documents that there are no materials on the violin or bow that originate from protected species.  Anyone traveling to non-European countries should therefore obtain a corresponding certificate - i.e. a CITES certificate or a negative certificate - at least 3 months before the trip.  The basis for this is an expert opinion, which can be obtained from qualified violin making workshops or bow makers, for example. With this document, the actual certificate is then applied for at the Federal Agency for Nature Conservation. All information about the procedure can be found on the linked website.  The CITES certificate is personal and valid for 3 years in all CITES Parties. For ensembles traveling together or exhibition projects there is the possibility to apply for a collective certificate. 
   Emergency solution: purchase of a violin as a travel instrument   When applying for a CITES certificate, it may well be that sufficient proof of legality cannot be provided for all the materials on the violin or bow - in short, not every instrument receives a CITES certificate, and traveling with such an instrument to non-European countries is practically impossible. In this case, affected musicians only have the alternative of acquiring a travel instrument that complies with species protection regulations - for example, the&amp;nbsp; Opus 12 violin &amp;nbsp;or the&amp;nbsp; Opus 15 violin &amp;nbsp;are perfectly suitable as inexpensive second violins with a surprisingly good sound. 
   Customs when traveling with a violin   In addition to the regulations for the protection of cultural property and species, musicians who regularly travel outside Europe should also keep an eye on possible customs barriers. In order to avoid time-consuming controls when leaving and entering the country or even customs clearance of the violin, the Carnet A. T. A. (Carnet for temporary admission of goods) is a good solution. The carnet is valid for one year and is issued by the Chamber of Commerce and Industry in whose catchment area the musician or owner of the instrument lives.  The situation is different if the violin is to be sold abroad. The A. T. A. carnet may not be used for such travel. Since customs evasion is a criminal offense, each export of a violin requires individual clarification of which customs duties and taxes are due. 
                ]]>
            </content>

                            <updated>2021-06-07T09:00:00+02:00</updated>
                    </entry>

    
    
        <entry>
            <title type="text">Violin price: how much does a violin cost?</title>
            <id>https://www.corilon.com/gb/library/practical-advice/how-much-does-a-violin-cost-old-antique-violin-price</id>
            <link href="https://www.corilon.com/gb/library/practical-advice/how-much-does-a-violin-cost-old-antique-violin-price"/>
            <summary type="html">
                <![CDATA[
                
                                            About violin prices. How much does a violin cost? What is the price of an old or new violin? Information and list of the most expensive violins in the world.
                                        ]]>
            </summary>
            <content type="html">
                <![CDATA[
                 The question of the violin price is an issue that not only beginning musicians have to handle. 
  What is the price of an old or new violin? How much to pay for a violin? Read more in this comprehensive overview of old and new violin prices.&amp;nbsp;Get valuable information to help you navigate the violin market and make informed purchasing decisions.  
 Advanced players and even professionals often have an equally difficult time answering the question about what a suitable price for a violin ought to be. After all, even though most violins bear a certain resemblance to each other, there are major differences in the details.&amp;nbsp;There is not a hard-and-fast rule which states that newer violins are automatically more expensive or more affordable than old violins.  A well-made new master instrument will certainly cost more than an older but simpler student instrument, and the reverse can also be true: a violin crafted by a historic master can be pricier than a new instrument with the same acoustic quality.&amp;nbsp; Corilon violins &amp;nbsp;is pleased to offer you this page and give you an&amp;nbsp;overview of the violin prices of old and new violins, information about the&amp;nbsp;accessories&amp;nbsp;you need, and a brief glance at the violin price you can find in the world of historic collectors‘ instruments. 
 How much does a violin cost? Read more in this violin price overview 
 A handcrafted violin with good sound and playing characteristics costs between around  £ 1,000 and  £&amp;nbsp; 5,000. 
 
  New violin price  
  Old violin price  
  Price of Stradivarius violins  
  Cost of accessories  
  Fine violin price - The world’s most expensive violins&amp;nbsp;  
 
 What do new violins cost?&amp;nbsp; 
 1. Price of new violins under £500 
 When purchasing their first instrument, many beginners consider less expensive mass-produced instruments, some of which are even available for less than £100. We&amp;nbsp; cannot recommend&amp;nbsp; these poorly made violins: good playing properties and a sound you enjoy are important factors which motivate students and help them learn, especially in the sensitive phase of early violin lessons.&amp;nbsp; 
 2. New violins up to £1000 
 Recommendable new instruments such as the ones we have chosen for our&amp;nbsp;CV Selectio&amp;nbsp;portfolio can be found at a price point&amp;nbsp; between &amp;nbsp;£ 500 and £1000 . Modern techniques in crafting violins can often produce astonishingly good results in these violins. Furthermore, if they are then professionally set up and reviewed by experienced luthiers and musicians – as the case with the instruments in the Selectio collection –&amp;nbsp;&amp;nbsp;dependable violins can be found in this price sector, and you can play them for many years and with great success. 
   
 3. New violins of top quality 
 The violin price range of better violins for non-professional musicians can generally be set between&amp;nbsp; around £  1000 and £5000 . We also offer instruments from the&amp;nbsp;CV Selectio&amp;nbsp;portfolio in this sector which were created with an even greater love of detail and finely crafted to optimize the sound. 
 4. Master violin price 
 Violin students, orchestra musicians, music teachers and soloists usually have the greatest success finding the instruments which best satisfy their personal acoustic preferences and intended use at prices of £ 5000 and up . Within this master violins category, the laws of the modern violin market may go into effect, and subsequently the instruments of well-known masters will generally be sold at more expensive prices than the works of luthiers at the beginning of their careers or those are less well-established for whatever reason. (To learn more, please see our article with general information about the quality and&amp;nbsp;value of a violin). The best procedure for buying a premium violin is to start by determining the upper limit of your budget – and then trying out a reasonable selection of interesting violins. Our policy of giving you 30 days to get to know your instrument and our trade-in guarantee give discerning musicians the perfect framework for handling this sensitive process effectively.&amp;nbsp; 
 What does an old violin cost? 
 Overall, the same approach applies to buying an old violin as it does to newer instrument, although there are a few additional details to keep in mind. 
 1. Old violins up to £1000&amp;nbsp; 
 Unlike our recommendations for new violins, we generally advise against purchasing older violins&amp;nbsp; at a price below £500 . The issue here is that such “bargains” made at flea markets or via online portals usually require repairs or at least will need to be set up and re-fitted with new strings and a new bridge, and – assuming a bow was part of the deal – the bow will need to be re-haired. Hidden flaws and forms of damage that are not apparent at first glance are only one potential problem here: a greater concern is that even professional violin makers can only determine to a limited extent whether an old violin that is currently unplayable has a sound that will be worth the effort of having it restored. If, for example, you pay £150 for an old violin in bad condition and decide to have it professionally repaired, you can quickly spend over £1000. 
 These kinds of risks are not present when you buy a historic instrument from the Corilon violins catalogue, however: we draw upon over twenty years of expertise as we select each item, and every single instrument is carefully set up by the experienced violin makers at our restoration workshop. If you love old violins with their distinctive historic charm and their unique mature sound, you will be well served by the competence our trained professionals offer.&amp;nbsp;    
 2. Old top-quality violins and master violins 
 The history of violin making is as multi-faceted as the world of historic stringed instruments; it is full of interesting discoveries for professional musicians and discriminating amateurs alike, and surprisingly affordable opportunities can be found. It is not uncommon for information about a particular luthier of an outstanding&amp;nbsp;master violin&amp;nbsp;to be lost in the course of time, which means that in such cases we can offer the finest of instruments for&amp;nbsp; a few thousand euros,&amp;nbsp; whereas a piece with a documented provenance from a famous master would cost many times that price. 
   
 In the field of the&amp;nbsp; top instruments by historic violin-making masters,&amp;nbsp; an unfortunate trend has been evident for many decades: the&amp;nbsp;musical quality of an instrument has become largely divorced from the price it generates, and surviving violins by luthiers such as Antonio Stradivari or Guarneri del Gesù have long since become investment objects. Obviously many of these violins are among the best in the world from a musical perspective, but the quality of their sound is at best only a partial justification for their price.&amp;nbsp;In selecting&amp;nbsp;master violins&amp;nbsp;for our catalogue of historic instruments, we always ensure that they meet the highest musical standards which their masters’ names deserve.That said, major names have never been the focus of our collection; instead, they are an aspect of the identity of excellent instruments – and they ensure your investment, since old master violins with a documented provenance are solid assets which generally appreciate in value. 
 What do the accessories for my violin cost? 
 Especially if you are buying your first violin, you will need some basic accessories which should be taken into account as you budget. 
 1. Price of violin bows 
 The most important accessory for a violinist is the right&amp;nbsp; bow &amp;nbsp;which is a good match both for your personal style and for the instrument so that together they can produce the desired sound. Especially when it comes to top-quality stringed instruments, the bow plays a surprisingly large part in shaping the violin’s sound, which is why there are many soloists who emphasize the choice of bow as much as they do their instrument. But beginners also need to make sure they find a bow of good quality, and it does not have to be expensive. We have a hand-curated selection of&amp;nbsp;old and new violin bows&amp;nbsp;well under £100, and upon request we would be happy to select one that complements your instrument perfectly. 
 2. Price of rosin 
 Rosin is indispensable for your bow. It consists of natural resins poured into a mould and hardened, and it is rubbed onto the the bow hairs to improve their ability to “grip” the strings. Experienced musicians have found the rosin which best suits their instrument and bow after years and years of trial and error. Rosin is sold in pieces of different sizes which range in price from around £ 5 – 20  . We offer rosin by Bernardel as a high-quality and affordable option which is perfect for the needs of beginners and a solid tip for advanced players.  
 3. Price for strings 
  We have to admit that you do not need to buy a new set of strings right away when you purchase a new violin. Waiting too long to buy strings can backfire, however, because then you will not have a backup on hand if a string breaks or the winding unravels. Simple steel strings are available under £10, although we do not recommend them for any of our instruments. For many years we have used Pirastro Tonica strings for both our new and old violins – a popular brand which offers good value for money at prices under £ 50 per set . As an alternative, we also use the somewhat more expensive strings by Evah Pirazzi, another Pirastro brand. 
 4. Shoulder rest cost&amp;nbsp; 
 Playing with a shoulder rest is a standard in classic violin training, which is why a shoulder rest is a widespread item among the accessories violinists need. You can find simple and perfectly adequate shoulder rests for&amp;nbsp; well under &amp;nbsp;£ 20&amp;nbsp; such as the model we recommend with our violins. In recent years, inventors and luthiers who enjoy innovation have launched a number of new models, some of which are made of very sophisticated materials and can reach prices of around £250. 
 5. Cost of violin case 
 A rugged violin case is one of the indispensable basics: not only does it protect your instrument outside of the home, but it also keeps it safe from dust and damage within your own four walls. Good cases can be had between £ 50 – £100 . Whether you need a simple case or a pricier option that is more robustly constructed and more comfortable is largely a question of how often you have to transport your violin on a regular basis and what distances you have to cover. 
 What does a Stradivari cost? The world’s most expensive violins 
 You can always daydream – or shake your head at the exorbitant violin prices in the current ranking of the world’s most expensive violins. 
 
 
  Rank  Luthier  Name  Price  
 
 1 
 Antonio Stradivari 
 „Lady Blunt“ 
 12,6 Mio £ 
 
 
 2 
 Guarneri del Gesù 
 „Ex-Kochanski“ 
 7,9 Mio £ 
 
 
 3 
 Guarneri del Gesù 
 „Ex-Carrodus“ 
 5,6 Mio £ 
 
 
 4 
 Antonio Stradivari 
 „La Pucelle“ 
 4,7 Mio £ 
 
 
 5 
 Antonio Stradivari 
 „Ex-Szigeti“ 
 5,7 Mio £ 
 
 
 6 
 Guarneri del Gesù 
 „Lord Wilton“ 
 4,7 Mio £ 
 
 
 7 
 Antonio Stradivari 
 „Dolphin“ 
 4,4 Mio £ 
 
 
 8 
 Antonio Stradivari 
 „Ex-Ries“ 
 3,8 Mio £ 
 
 
 9 
 Antonio Stradivari 
 „Molitor&quot; 
 2,9 Mio £ 
 
 
 
 Originally published by Corilon violins. 
                ]]>
            </content>

                            <updated>2021-02-19T17:00:00+01:00</updated>
                    </entry>

    
    
        <entry>
            <title type="text">Violin research at Corilon violins: Standards and methods</title>
            <id>https://www.corilon.com/gb/library/practical-advice/violin-research-at-corilon-violins-standards-and-methods</id>
            <link href="https://www.corilon.com/gb/library/practical-advice/violin-research-at-corilon-violins-standards-and-methods"/>
            <summary type="html">
                <![CDATA[
                
                                            What is the scientific definition and systematic classification of violin research? Learn more about Corilon violin&#039;s academic standards and methods
                                        ]]>
            </summary>
            <content type="html">
                <![CDATA[
                 The definition and systematic classification of violin research 
 Researching stringed instruments is a subdiscipline of the study of musical instruments and thus is a branch of musicology in the broader sense of the word. This definition shows that like musicology itself, violin research is an inherently interdisciplinary subject in which aspects of cultural science, sociology and natural sciences converge. This is still the case even when the field is defined in a comparatively narrow sense and integrates elements aspects of the history of composition or musical ethnology only to whatever extent they are directly relevant to issues of the instruments’ history. 
 Academic and scientific standards play a key part in every aspect of the work we do at Corilon violins. We consistently operate on a solid foundation of our knowledge of instruments – at our workshop, when we buy instruments and when we restore and sell them. The following questions are the ones we emphasize most. 
 How can we determine the provenance of a violin? 
 The historical background of our instruments is a vital topic in our work, since a violin’s provenance is a defining characteristic that is justifiably important in our customers&#039; eyes. We carefully review the information about the instruments&#039; makers using widely established historical and scientific methods – both when it comes to  certificates of authenticity  and to the sophisticated documentation we provide about the violins, violas, celli and bows in our catalogue. In particular, we work with  comparative analyses  and consult with historical restorations, changes in the varnish and repairs. As needed, we also turn to very specific procedures and research findings from fields such as  dendrochronology  or chemical and physical analysis of the varnish to gain information from these complex scientific approaches. 
 How do optimisation and restoration measures affect the sound of an instrument? 
 To answer this question, we draw upon both extensive craftsman experience and on physical assessments of the instruments’ materials and the way they were crafted. Which woods, glues and varnishes most effectively correspond to the violins&#039; original condition and offer solutions that will be dependable on a long-term basis? How can we have a positive effect on the vibration characteristics of the instrument? And what exactly does &quot;positive&quot; mean for each given instrument when we take its history and the musical interests of our customers into account? How do we best  preserve the inimitable historical character  of a voice from an earlier time ― and give its distinctive expressiveness a new freshness for the musical culture of our time? 
 Which music and which musician is an instrument best suited for? 
 The  catalogue at Corilon violins  comprises top-tier master  violins , violas and celli from highly regarded historic and  contemporary luthiers ; these items are solid investments even before their acoustic properties are taken into account. The key priority for us, however, is always finding the unmistakable musical voice of each instrument so that we can provide nuanced recommendations for the personal artistic aspirations of every one of our customers. This awareness of historic and contemporary performance technique and interpretation as well as composition and performance history is what distinguishes the remarkable quality of our work, and to this end we constantly study relevant musicological publications, current research findings and trend analyses. 
 &amp;nbsp; 
  Related information:  
  New arrivals &amp;nbsp;in our catalogue 
  Corilon violins atelier for violin making and restoration  
  Library - texts about the history of stringed instruments  
  The violin - practial tips on care and maintenance  
                ]]>
            </content>

                            <updated>2020-03-09T08:00:00+01:00</updated>
                    </entry>

    
    
        <entry>
            <title type="text">The violin bow: Practical tips on care, rehair and maintenance</title>
            <id>https://www.corilon.com/gb/library/practical-advice/the-violin-bow-practical-tips-on-care-rehair-and-maintenance</id>
            <link href="https://www.corilon.com/gb/library/practical-advice/the-violin-bow-practical-tips-on-care-rehair-and-maintenance"/>
            <summary type="html">
                <![CDATA[
                
                                            The use and proper care of a violin bow: treatment, rosin, hair, clean, rehair etc.
                                        ]]>
            </summary>
            <content type="html">
                <![CDATA[
                 The use and proper care of a violin bow: violin bow treatment, cleaning, tightening, rosin, hair, etc. 
 On this page we have compiled some tips, questions and answers about general  violin bow treatment and handling  and how to  clean a violin bow properly . This information applies to  violin bows  as well as bows for other stringed instruments. 
 Violin Bow Guide – Table of Contents 
 
  How do you generally treat and tighten a violin bow?  
  How do you clean a violin bow?  
  How do you rosin a violin bow properly?  
  How to choose the right rosin for your violin bow  
  How often should a violin bow be rehaired?  
  How do you handle loose or broken bow hairs?  
 
 How do you generally treat and tighten a violin bow? 
 To maintain the value of a good violin bow and keep it in optimum playing condition, it is very important  never to tighten the bow hair too much  and to  always loosen the bow hair  after each playing session. The stick should also be wiped clean with a soft cloth after each use to remove rosin dust. Violin bows that are regularly played should be sent to a luthier along with the violin for periodic check-ups. That way, minor flaws and any wear to the screw can be repaired before they can cause damage. 
   Back top the top of the page   
 How do you clean a violin bow?&amp;nbsp; 
   
 As is the case with the instrument, the first and best way of  cleaning and taking care of the violin bow  is to wipe off rosin dust after every time you play. A soft cloth of microfiber or another material reliably removes the freshly formed dust whilst also polishing the surface of the stick somewhat. Minor clumps of rosin in the hair can usually be combed out with an old toothbrush.The specific kinds of dirt that can accumulate on a violin bow include sweat from the hand, and sweat contains several fatty compounds. Students in particular are often uncertain about how to hold their right hand, and as a result the hair around the frog can quickly grow fatty and fail to take on more rosin, which limits the usability of the bow. To eliminate these traces and restore the bow hair to good condition, we recommend washing the hair. This approach can also make sense if an old cake of rosin has been replaced with a new one with very different properties than its predecessor. 
 To wash the hair, you first need to release the frog from the stick by completely loosening the screw. Please make sure that the hair at the frog and the tip are not pulled in a different direction than usual during their normal use, and the loosened hair should not be twisted either. Have a small container of rubbing alcohol ready, and wash out the old rosin with careful massaging motions. You must be extremely careful to ensure that the alcohol does not come in contact with the stick, where it can leave lingering marks. The second phase is to remove other kinds of soil, especially fats, with a bit of soap or shampoo and water. Last but not least, the violin bow hairs are carefully dried with a towel, the frog is put back into place and secured in place with the screw. To speed up the drying process and make sure the hair is in the proper position, we recommend gently combing the hair with a fine-toothed comb or an old toothbrush. After things have dried properly, the hair can be re-rosined. 
   Back top the top of the page   
 How do you rosin a violin bow properly? 
 The simplest and best method for  rosining the violin bow  the violin bow on a daily basis is to tighten the bow hair as normal and then run the rosin up and down the hair. Contrary to a commonly repeated rumour, the direction you choose to apply the rosin makes no difference. Most musicians first apply short fast strokes at the frog and top and then run the rosin along the length of the entire bow. The priority here is evenly distributing the powder throughout the hair and selecting the right quantity, which in turn is a question of many individual circumstances. Not every instrument responds equally well to every violin bow with exactly the same quantity of rosin, but experienced musicians develop a sense for how thoroughly and how often they should rosin their violin bow. One very effective method is to pulverise some rosin and apply it to the bow hair with an old toothbrush. This is only recommended for new violin bows which have never been rosined before; the large amount of powdered rosin will have a negative effect on the hair already in use. 
   Back top the top of the page   
 How to choose the right rosin for your violin bow 
 Opinions are probably more divided on the question which is the best rosin than they are about the “right” strings to use. The  choice of rosin  is essentially a matter of individual taste combined with the specific characteristics of one’s violin bow and instrument. At Corilon violins, we use the  French &quot;Bernardel&quot; rosin  which has turned out to be the best rosin providing the best grip and attack. The ambient condition of the room where the violin will be played should also be taken into consideration. Many musicians use different rosin in summer than they do in winter, or different rosins for different styles of music. For this reason, some rosin manufacturers offer a range of products. Again, one can only find the ideal solution by trial and error. It is generally worth it to invest in a high-quality product. After all, this substance has the first and most immediate effect on the sound of violins. 
   Back top the top of the page   
 &amp;nbsp; 
 How often should a violin bow be rehaired? 
 Here as well there is not a solid rule as to how often a violin bow should be rehaired. Professional musicians often have their bows rehaired two to three times a year, whereas amateurs can often let years elapse between rehairing. The way sound is created by a violin bow is a very complex process which relies upon the rosined bow hair causing friction on the string. The hair for violin bows is taken from the tails of particular breeds of horses; the bow hair has to have a surface structure that is well suited to holding an even coat of rosin. After longer periods of use, the microscopic-sized scales on the hairs no longer fulfil their purpose completely, which has an immediate negative effect on the playing and acoustic characteristics of the bow. 
   Back top the top of the page   
 How do you handle loose or broken bow hairs? 
 The bow hair on a violin bow usually consists of some 150 to 170 strands, so if individual hairs become loose or tear, there is no need to have the violin bow rehaired right away. This is a normal sign of wear and tear and has no effect whatsoever on the playing characteristics of the bow. It is, however, important not to pull such hairs out of the tip or frog; instead, just use a sharp knife or very sharp pair of scissors to cut the hair as short as possible and get the broken hair off the bow. The violin bow hairs are secured at either end, and the mounting becomes loose if individual strands of hair are ripped out. 
   Back top the top of the page   
 &amp;nbsp; 
  Related articles:  
  The violin: practical tips  on care and maintenance 
  Violin, value and violin appraisal  
  History of the violin bow  
  François Xavier Tourte , founding father of the modern violin bow 
 Bow maker and entrepreneur  H. R. Pfretzschner  
  Bazin&#039;s grandchildren: bow making in turbulent times  
 &amp;nbsp; 
  Related information:  
  LIBRARY - text about the history of stringed instruments  
  Catalogue of fine violins and master violins  
                ]]>
            </content>

                            <updated>2019-12-11T00:59:00+01:00</updated>
                    </entry>

    
    
        <entry>
            <title type="text">The student violin: answers to frequently asked questions</title>
            <id>https://www.corilon.com/gb/library/practical-advice/the-student-violin-answers-to-frequently-asked-questions</id>
            <link href="https://www.corilon.com/gb/library/practical-advice/the-student-violin-answers-to-frequently-asked-questions"/>
            <summary type="html">
                <![CDATA[
                
                                            Advice on the purchase of a student violin: what size should it be, should i choose an old or a new instrument?
                                        ]]>
            </summary>
            <content type="html">
                <![CDATA[
                 Advice on the purchase of a student violin: definition of the student violin size, answers to frequently asked questions about old or a new instruments 
 When you play first violin in an orchestra, you need an especially good instrument, a fact which no one in the ensemble would dispute. The &quot;first violin&quot; in the life of a budding musician, however, is often something else entirely. Many parents looking for the right violin size for their children&#039;s beginning music lessons are confronted with a dilemma: on the one hand, the family budget is limited, and no one knows in advance whether the youngster in question will turn into the next Paganini or if the violin-lesson project will die of natural causes within a few months. On the other hand, it is equally true that having the wrong student violin will prevent playing from being fun, and without that enjoyment, the child&#039;s musical education will invariably get off on the wrong foot.    Ultimately only few parents are knowledgeable experts who can assess the correct violin size, the value and musical qualities of a student violin with confidence. So how does one go about finding the right violin? Here you will find a few answers to common questions about &quot;first violins&quot;. 
 Overview: What should you consider when buying a student violin? 
 
 The student violin: the perfect companion for aspiring violinists 
 What size should a student violin be? 
 Older violins, newer violins: which are better for students? 
 What makes more sense: buying a student violin or leasing a violin? 
 
 The student violin: the perfect companion for aspiring violinists 
 The student violin is a popular instrument for young musicians who want to embark on their journey into the world of violin music. It is specifically designed for beginners and students, offering a variety of advantages that make learning the violin and making progress easier. 
 What size should a student violin be? 
 We have compiled a size chart and notes on the appropriate measurements for small violins on another page: Guide on how to&amp;nbsp;determine the proper student violin size 
 Older violins, newer violins: which are better for students? 
 Given the wide range of brand-new factory-made  student violins  available, many people do not even ask themselves the latter question, even though the world of historic stringed instruments offers many appealing opportunities, especially for aspiring young musicians. For centuries, children have been taking violin lessons, and violin makers throughout the generations have created instruments that are the right size for younger players. Smaller historic violins often share a particular richness in sound which only such older instruments can develop. And even school children – whom you should never underestimate! – appreciate knowing and feeling and hearing that their student violin dates back to their great-grandmother&#039;s time. This sense of fascination can motivate younger students and encourage them to develop a relationship to their instrument, to keep picking it up and playing it. And that relationship can help bridge the thornier periods in which things don&#039;t sound quite the way they should or the student has to slog through a series of monotonous exercises and scales. 
    At  Corilon violins &amp;nbsp;you can explore a wide range of hand-selected violins with a 30-day return policy, ensuring you find the perfect instrument. 
  Related information and articl  
 This of course is not to say that there are no good new student violins for beginners; the point is simply that in shops you will come across newer pieces automatically, while historic  student violins  are still quite the inside tip. Despite featuring&amp;nbsp;professional violins&amp;nbsp;Corilon violins has successfully specialized in offering quality smaller-sized instruments which we present in a separate category in our online catalogue. Like all our instruments, they have been set up by a luthier in our shop and are ready to play – which is something that cannot always be said of many cheaper new violins and often involves further costs. By contrast, our student violins allow your child to begin lessons right away.&amp;nbsp; 
 What makes more sense: buying a student violin or leasing a violin? 
 Good sounding and affordable new violin sets&amp;nbsp;starting from € 490 and good historic violins&amp;nbsp;can be found for around € 490 - &amp;nbsp;990 or less at the&amp;nbsp;Corilon online violin shop&amp;nbsp;and generally rank among the most affordable old stringed instruments available, even though it is just as costly to produce them as it is to make normal-sized instruments. Another interesting option is our trade guarantee with which we can accompany young virtuosi in their musical development. If you are looking for a more affordable approach, local violin makers or music schools often have rental options for factory sets and other beginner violins. 
 &amp;nbsp; 
  Information and further violin-related reading:  
 Definition of the violin wolf tone: Taming the wolf in a stringed instrument 
 The violin: practical tips on care and maintenance 
 Finding a student violin in the proper size 
 How to select a violin, provenance, value and violin appraisal 
 The violin bow: practical tips on care and maintenance 
 Selling your violin to Corilon violins 
 The history of the violin bow 
                ]]>
            </content>

                            <updated>2019-12-10T16:57:00+01:00</updated>
                    </entry>

    
    
        <entry>
            <title type="text">A guide to buying an instrument for our Swiss customers</title>
            <id>https://www.corilon.com/gb/library/practical-advice/a-guide-to-buying-an-instrument-for-our-swiss-customers</id>
            <link href="https://www.corilon.com/gb/library/practical-advice/a-guide-to-buying-an-instrument-for-our-swiss-customers"/>
            <summary type="html">
                <![CDATA[
                
                                            A guide to buying a stringed instrument for our Swiss customers
                                        ]]>
            </summary>
            <content type="html">
                <![CDATA[
                  A guide to buying a good violin, viola or cello for our Swiss customers  
 Most people who are looking for a good Violin, viola, cello or bow in Switzerland start out by going to a violin shop. At most violin shops, however, the selection is tailored to beginners or students, which does not meet the needs of advanced musicians, let alone professionals. Luthiers in the region are often a better place to find high-quality violins, violas, celli, basses and bows. These violin makers offer customized consultation and competent assistance, yet at the same time they frequently feature only a small number of instruments. If neither of these sources leads to a suitable instrument, all that remains is the Internet, which can be bewildering in its boundlessness: the range of new and old violins is nearly endless, and it is extremely difficult to assess their quality, condition and value through the monitor of your computer. 
             
 As a specialist in  fine stringed instruments , Corilon violins builds a bridge between the virtual cosmos of the online world and musical reality. Located in Munich, we provide an exclusive selection of old stringed instruments each one carefully chosen by experts, meticulously restored at our atelier and made ready to play by our experienced luthiers. Professional musicians, amateurs and students can all find vintage instruments with a distinctive historic profile, instruments which also offer outstanding musical properties at surprisingly affordable prices. Furthermore, many of our international clients benefit from the advantageous exchange rates. 
 Musicians from Switzerland can turn to Corilon violins as an easily accessible online resource for a unique collection of historic violins, violas, celli and bows. Corilon has delighted a growing number of musicians and music teachers throughout all of Switzerland. An excellent way to make a preliminary selection of the instruments which appeal to you is to consult our  online catalogue , which is full of detailed high-resolution photos and compelling audio clips. If you prefer to test selected instruments in our store, please call for an appointment. Once you have set up a personal appointment to become acquainted with the instruments you are interested in, we look forward to welcoming you at our atelier in Munich. 
 If you are in the southern cantons or if Corilon is too far away for your convenience, you can rely upon our experience in  internationally shipping  violins, violas and bows. With our guaranteed  30-day return policy , we are a reliable partner for buying instruments easily and without any risk. 
 &amp;nbsp; 
   Related information:   
  Returns and refund policy  
  Trade guarantee  
  Shipping costs  
  Consignment sales  
                ]]>
            </content>

                            <updated>2019-08-09T16:15:00+02:00</updated>
                    </entry>

    
    
        <entry>
            <title type="text">Sell your violin to Corilon violins</title>
            <id>https://www.corilon.com/gb/library/practical-advice/sell-your-violin-to-corilon-violins</id>
            <link href="https://www.corilon.com/gb/library/practical-advice/sell-your-violin-to-corilon-violins"/>
            <summary type="html">
                <![CDATA[
                
                                            What do I need to know about selling my violin? Who buys and sells violins? Information and practical tips on how to sell your instrument to Corilon violins
                                        ]]>
            </summary>
            <content type="html">
                <![CDATA[
                 What do I need to know about selling my violin? Who buys violins? 
  Selling a violin is never a simple affair : A proper assessment of a violin’s musical qualities, its possible value and whether it needs to be restored requires experience and expertise beyond the ken of most stringed instrument owners and small dealers or online auction houses. Moreover, few regional luthiers are willing to  purchase instruments  that you wish to sell.    
 Finding loving hands: information and practical tips on how to sell your violin, viola or cello to Corilon violins 
  Many private owners and professional musicians  have turned to  Corilon violins  as a serious and trustworthy partner when selling their violin, viola, cello or bow. Corilon violins offers years of experience in the trade, the competence of several luthiers who have specialized in setting up and restoring old instruments and a network of collaborating experts. We purchase old violins, violas, cellos and bows of quality that meet the standards of our diverse product range. As the owner of a valuable stringed instrument, you can also take advantage of our offer to  sell your fine stringed instrument on consignment  through our catalogue. Corilon violins has already helped the works of many esteemed master luthiers find their way to the right musician. 
  Should you be interested in selling an old stringed instrument , simply send us a few clear digital photos by email that show the entire violin, body and scroll, from all sides. Include as well close-ups of any important details such as cracks, repairs and damage. There is no need for you to have it repaired or replace missing parts like broken strings beforehand—our workshop will take care of such matters upon purchase.  Send your photos by e-mail to   mail@corilon.com . 
  Based on the first impression from your photos , we can in most cases make a reasonable purchase offer and ask you to send us your instrument. Since the price for a  fine stringed instrument  can only be conclusively determined by visual and physical inspection, we recommend that you start selling your violin by submitting photos to us. We hope you understand that we cannot make any statements without photographs, solely based on names and dates on labels or similar information. 
 &amp;nbsp; 
  Corilon violins&amp;nbsp;•&amp;nbsp; Lilienstr. 2 • 81669 München • Germany mail@corilon.com •&amp;nbsp; www.corilon.com  
  Corilon violins&amp;nbsp;•&amp;nbsp; Piazza S Michele, 7 • 26100 Cremona (CR) • Italy mail@corilon.com •&amp;nbsp; www.corilon.com  
  Corilon violins&amp;nbsp;•&amp;nbsp; via Alessandro Manzoni, 5 • 26100 Cremona (CR) • Italy mail@corilon.com •&amp;nbsp; www.corilon.com  
   
 &amp;nbsp;&amp;nbsp; 
  Related articles:  
  A guide to safely shipping a violin  
  The violin: practical tips on care and maintenance  
 &amp;nbsp; 
                ]]>
            </content>

                            <updated>2019-08-09T16:14:00+02:00</updated>
                    </entry>

    
    
        <entry>
            <title type="text">Sell your cello or double bass to Corilon violins</title>
            <id>https://www.corilon.com/gb/library/practical-advice/sell-your-cello-or-double-bass-to-corilon-violins</id>
            <link href="https://www.corilon.com/gb/library/practical-advice/sell-your-cello-or-double-bass-to-corilon-violins"/>
            <summary type="html">
                <![CDATA[
                
                                            What do I need to know about selling my cello or double bass? Information and practical tips on selling your instrument to Corilon violins.
                                        ]]>
            </summary>
            <content type="html">
                <![CDATA[
                  What do I need to know about selling my cello or double bass? Information and practical tips on selling your instrument to Corilon violins.  
 Selling a cello or double bass is never a simple affair, if only due to the size of these instruments. A proper assessment of a cello’s or double bass’s musical qualities, its possible historic worth and whether it needs to be restored requires experience and expertise beyond the ken of most stringed instrument owners. No matter if it is a mysterious attic find, a family heirloom or a cello or double bass that one has played for years and wishes to replace with a higher-quality one: up until now, anyone wishing to sell one of these large instruments has had to turn to regional luthiers, few of whom are willing to purchase instruments. 
 Corilon violins now offers you a viable alternative: to complement our online catalogue of fine old stringed instruments, we seek interesting celli and double basses. Should you be interested in offering us a cello or double bass, simply send us a few photographs that show the entire instrument, ideally from all sides, as well as any important details such as damage. Based on the first impression from your photos, we may ask you to bring in r send us the instrument in for closer inspection. There is no need for you to have it repaired or replace missing parts like broken strings beforehand—our workshop would take care of such matters upon purchase. 
  See this page  for more information about commission sales. We prefer that you send your photos by e-mail to: mail@corilon.com. 
                ]]>
            </content>

                            <updated>2019-08-09T16:11:00+02:00</updated>
                    </entry>

    
    
        <entry>
            <title type="text">Information on shipping a violin safely</title>
            <id>https://www.corilon.com/gb/library/practical-advice/information-on-shipping-a-violin-safely</id>
            <link href="https://www.corilon.com/gb/library/practical-advice/information-on-shipping-a-violin-safely"/>
            <summary type="html">
                <![CDATA[
                
                                            Tips about how to ship a violin: well-padded, no pressure. Safely packaging an instrument inside and out
                                        ]]>
            </summary>
            <content type="html">
                <![CDATA[
                 Tips about how to ship a violin: safely packaging an instrument inside and out 
 Shipping inside our cardboard boxes 
 If you send an instrument back to us – because you wish to take advantage of our  trade guarantee  or  return policy  – the best approach is to re-use the  cardboard box  we sent, which will safely protect your violin, viola or bow. Please make sure that the instrument is not under any pressure or tension and not firmly anchored. Do  not  secure it tightly with shells made of styrofoam or plastic as you would if you were packaging electronic equipment.  A better alternative is styrofoam packing peanuts or wadded-up paper,  since they can absorb impact and even dents to the box. The best thing is to wrap up the instrument completely in bubble wrap and place it in the box on a sufficiently deep layer of packing peanuts; fill the rest of the space with more loose-fill material. There should be about the same amount of padding above and below the violin, and the sides should be balanced as well so that the instrument is equally well protected from all angles. 
 Shipping inside a violin case 
 A  violin case  can also be suitable for shipping your instrument. As long as it is held in place with adequate padding, its hard exterior provides good protection against mechanical harm. Please make sure that the scroll is not directly resting on the inside of the case; ideally, the instrument should be resting only on the edges of the back, with no direct weight on the back itself. If the interior of the case is too hard or the violin is too loose within the case, the instrument should be wrapped in a soft cloth before being set inside the case. Here too, it is critical for it to be packed so that it is  shockproof without being pinned down.  You can achieve the best possible shock protection by putting the violin in its case and then placing the case into a large enough box with proper padding (see above). &amp;nbsp; 
 Small parts of the violin 
 Writing  “Caution: fragile!”  or using a warning sticker on the package is no guarantee that the box will actually be handled with care, but it is safer than no warning at all.&amp;nbsp;    
 Another potential hazard during shipping is loose  small parts  in the case which can cause major scratches when the instrument is transported. The issue here is not so much everyday musical tools such as tuning forks or pencils, but rather the movable  parts of the violin  itself that come loose due to shifts in temperature and vibrations en route. The risk can be somewhat diminished by adjusting the violin to &quot;transport tuning&quot;: please loosen each string by around 3 whole tones. This does not completely eliminate the risk of the pegs moving further, however, which is why we recommend securing the strings, tailpiece and bridge as well. You can use another loose cloth in the case to help protect against slipping and prevent scratches. 
 &amp;nbsp; 
  Related articles:  
  The violin: practical tips on care and maintenance  
  Selling your violin to Corilon violins  
  Finding a student violin in the proper size  
  How to select a violin, provenance, value and violin appraisal  
  The violin bow: practical tips on care and maintenance  
                ]]>
            </content>

                            <updated>2019-08-09T16:02:00+02:00</updated>
                    </entry>

    
    
        <entry>
            <title type="text">Finding a student violin in the proper violin size: 4/4, 3/4, 1/2</title>
            <id>https://www.corilon.com/gb/library/practical-advice/finding-a-student-violin-in-the-proper-size</id>
            <link href="https://www.corilon.com/gb/library/practical-advice/finding-a-student-violin-in-the-proper-size"/>
            <summary type="html">
                <![CDATA[
                
                                            What size should a student violin be so your child can play it easily? Violin size chart and tips about selecting the dimensions for smaller sized violins and violas
                                        ]]>
            </summary>
            <content type="html">
                <![CDATA[
                 A violin size chart and tips about selecting the dimensions for smaller violins and violas 
  What size should a student violin be so your child can play it easily? Answer gives our violin size chart and the following tips about selecting the right dimensions for smaller instruments.  
 The right violin size for children and adults 
 Finding the right  violin size  for students is always a customised process. What matters most is not the child&#039;s height or age, but the length of his or her arms. If you select one of our  smaller sized violins , our guaranteed return policy will protect you against miscalculating the violin size you need. Of course, however, we hope that that the instrument you order will be the correct size and therefore can be played immediately. To help make sure this happens, we have given you a few tips about selecting the right student violin. Our violin size chart lets you estimate how a child&#039;s arm length and age usually relate to each other. To provide greater orientation, we have also added information about the child&#039;s height and the standard approximate parameters of instrument size. 
 
 
 
 
  Arm length  
  Approx. age*  
  Approx height  
  Violin**  
  Viola**  
  Bow***  
 
 
 340-430 mm 
 3-5 
 1,00-1,20 m 
 1/16 (230 mm) 
 --- 
 &amp;lt; 430 mm 
 
 
 420-445 mm 
 4-7 
 1,10-1,30 m 
 1/8 (255 mm) 
 1/4 (250-280 mm) 
 430-490 mm 
 
 
 445-510 mm 
 5-8 
 1,20-1,35 m 
 1/4 (280 mm) 
 1/2 (280-320 mm) 
 490-550 mm 
 
 
 500-570 mm 
 6-9 
 1,20-1,45 m 
 1/2 (320 mm) 
 1/2 (280-320 mm) 
 550-610 mm 
 
 
 560-600 mm 
 7-11 
 1,35-1,50 m 
 3/4 (335 mm) 
 3/4 (330-340 mm) 
 610-670 mm 
 
 
 &amp;gt; 600 mm 
 adults 
 &amp;gt; 1,50 m 
 4/4 (355 mm) 
 4/4 (380/400 mm) 
 &amp;gt; 670 mm 
 
 
 
 
 
 * in years 
 ** the length of the instrument body, which is also indicated in our catalogue 
 *** only the length of the stick, not including the screw 
 
 
 &amp;nbsp; 
 You can measure  arm length  most easily by having children extend their left arm straight ahead; measure the span between the beginning of the shoulder and the middle of the open palm.  Whereas it is common practice to buy slightly larger clothes for children to &quot;grow into,&quot; the exact reverse is true when it comes to  purchasing a violin .     &amp;nbsp;violin size that is too small is much less challenging to play than one that is too large. Once you have received the violin your child&#039;s teacher will certainly help you decide whether it is a high-quality violin and a good fit in the right size. 
 Another  useful rule of thumb is that children should be able to cup the scroll in their hand when they fully extend their arm . Another test is to have the child play a few notes in first position – assuming the child has already learned that – to see if the mensur (a measure of the overall string length) fits well in the hand. Beyond that, it goes without saying that they should be able to keep their arm in position comfortably and without strain. 
 &amp;nbsp; 
  Related information and articles:  
  The violin wolf tone : Taming the wolf in a stringed instrument 
  The violin: practical tips on care and maintenance  
  Student violins: a few answers to frequently asked questions  
  How to select a violin, provenance, value and violin appraisal  
  The violin bow: practical tips on care and maintenance  
  Sell your violin to Corilon violins  
  The history of the violin bow  
 Originally published by Corilon violins. 
                ]]>
            </content>

                            <updated>2019-03-22T16:59:00+01:00</updated>
                    </entry>

    
    
        <entry>
            <title type="text">How do you recognize a good violin? 8 tips from Corilon violins</title>
            <id>https://www.corilon.com/gb/library/practical-advice/how-do-you-recognize-a-good-violin</id>
            <link href="https://www.corilon.com/gb/library/practical-advice/how-do-you-recognize-a-good-violin"/>
            <summary type="html">
                <![CDATA[
                
                                            Good sound and precise craftsmanship: these 8 tips will help you recognize a good violin
                                        ]]>
            </summary>
            <content type="html">
                <![CDATA[
                 Good sound, easy to play and precise craftsmanship: these 8 tips will help you recognize a good violin 
 The quality of a  violin  can be judged in various ways. Here are some important factors that play a role for the layman when evaluating a good violin: 
 
 
  Sound quality:  
 
 A good violin produces a clear, balanced and resonant sound. A good violin responds easily and the tone should be balanced and pure in different registers and across the 4 strings.&amp;nbsp; 
 Test the violin during the return period and play different pieces to evaluate its versatility.&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;  
 
 
 
  Quality of craftmanship:  
 
 Craftsmanship is critical. Look for clean edge work, neatly cut sound holes, fine corner finishing and hand work in hard-to-reach areas. The varnish should be handmade in several layers and of high quality. 
 The varnish should be even and of high quality.&amp;nbsp; 
 
 
 
  Quality of tonewood  
 
 High-quality violins are often made from well-seasoned tonewood. The top (soundboard) is typically made of spruce, while the back and sides (ribs) are made of maple.&amp;nbsp; 
 The grain and flames of the wood can, but does not have to, indicate the tonal quality.&amp;nbsp; 
 
 
 
  Bow:  
 
 The  violin bow  is just as important as the violin itself. A high-quality violin bow is well-balanced, accommodates the player when playing and has been made by hand.&amp;nbsp; 
 Important indicators are the design of the head and the thickness distribution of the bow stick. The wood species plays a secondary role.&amp;nbsp; 
 
 
 
  Playability:  
 
 A good violin is easy to play, responds well and gives the musician good control over sound and articulation.&amp;nbsp; 
 The shape and size of the neck should be comfortable for the player to hold. 
 
 
 
  Origin and maker:  
 
 Good violins were made by  masters with well-known names  or come from  places and regions with a long tradition of violin making . Such violins are almost always of higher quality. 
 
 
 
  Price  
 
 Price differences have their justification, especially in the area of high-quality violins. Although the  price of a violin  alone is not always an indicator of quality these days, it always reflects the quality of a good violin in a reputable shop.&amp;nbsp;    
 A handmade violin takes around 200 hours of work to make. Very cheap violins are inevitably of inferior quality. 
 
 
 
  Reputation of the seller:  
 
 The reputation of the seller or manufacturer can also give an indication of quality. Ideally, buy from trustworthy sources and avoid unknown or abscure online stores.&amp;nbsp;    At  Corilon violins &amp;nbsp;you can explore a wide range of hand-selected violins with a 30-day return policy, ensuring you find the perfect instrument. 
 Buying on Ebay or at other auctions may be tempting but is always a risk, as violins with hidden defects, dubious instruments and violins with sound problems are increasingly offered there 
 
 
 
 &amp;nbsp; 
 At Corilon violins, you can listen to any violin before you buy it with 30 days returns and have it played by a good player. Using the audio function in the Corilon violins catalog, you can listen to a professional recording of every instrument on offer. However, the player&#039;s personal taste plays a decisive role, as every musician plays their violin differently and experiences and appreciates it differently. And finally, a violin also has an emotional value, which is often experienced as much more important than the monetary  value of a violin . 
                ]]>
            </content>

                            <updated>2019-03-22T01:15:00+01:00</updated>
                    </entry>

    
    
        <entry>
            <title type="text">The violin: practical tips and guide on care and maintenance</title>
            <id>https://www.corilon.com/gb/library/practical-advice/the-violin-practical-tips-on-care-and-maintenance</id>
            <link href="https://www.corilon.com/gb/library/practical-advice/the-violin-practical-tips-on-care-and-maintenance"/>
            <summary type="html">
                <![CDATA[
                
                                            Guide and answers to frequently asked questions regarding the violin, its proper care, cleaning, pegs and handling of violins
                                        ]]>
            </summary>
            <content type="html">
                <![CDATA[
                 Guide and practical tips on the violin: answers to frequently asked questions regarding the proper care, cleaning and handling of violins 
 On this page we seek to address frequently asked questions regarding the proper care and handling of your violin, the violin strings and other general problems. Most of the advice for cleaning and changing violin strings, installing fine tuners to your violin or cello and straightening the bridge&amp;nbsp;is applicable to other stringed instruments as well. 
   
 Violin Guide – Table of Contents 
 
  How to store a violin  
  How to clean a violin  
   How to take care of the violin&#039;s varnish   
  When to restring the instrument  
  How to put on or change violin strings  
  How to choose the right violin strings  
  How to tune a violin  
   What to do about stiff or slipping pegs   
   How to straighten and position the violin bridge   
  When to replace the violin bridge  
   How to install fine tuners   
  How to take care of the fingerboard  
  How to improve the violin&#039;s sound  
 
 &amp;nbsp; 
 How to store a violin 
 As a rule, the safest place to  keep a violin  is in its violin case. The temperature of the room should be constant and the humidity moderate. Having a few potted plants in the room will ensure that there is enough humidity, provided that they are regularly watered. During the heating season it may be advisable to use a “Dampit” to prevent damage to the gluing or, even worse, cracks in the wood. As a rule, smaller instruments such as violins and violas are less sensitive to unfavourable fluctuations in temperature and humidity than larger instruments, especially cellos. A violin should be kept in a place free of drafts and away from direct sunlight. Make sure that the violin case is neither “in the way” where it can get knocked over in passing, nor kept on a shelf or in a closet where it can fall down when other items are retrieved. Although a corner would appear to be an ideal spot to keep a stringed instrument out of harm’s way, one must exercise caution: the walls may be very cold, particularly in old buildings. The violin would then be exposed to warm, room-temperature air on one side and a cold wall on the other - a dangerous combination that could cause cracks. When placing the violin in its violin case, make sure that no sharp or pointed objects can damage the varnish. Most cases come with a soft blanket to spread over the top,  neck and scroll of the violin  before the case is closed. This blanket protects the violin from being scratched by bows stored in the cover. If your violin case is not equipped with a blanket or if the stringed instrument does not fit snugly, it is a good idea to wrap the frog of  the violin bow  in a large, thin cloth such as a handkerchief, because the edges of the frog pose the greatest risk to violin varnish. However, it is better to cover the instrument completely to prevent it from coming into contact with rosin from the bow (see also the section on  how to clean a violin ). Many musicians even wrap their stringed instruments in silk or some similar material to give them better protection, a snugger fit and softer cushioning. Caution: the violin should never be put under pressure or forced into its case!    Back to the top of the page   
 How to clean a violin 
 All  violins need to be cleaned regularly , not just ones on display or those that are kept out of their violin cases so that they are always readily available. The most dangerous kind of grime is rosin dust, which accumulates on the face each time a violin is played and can damage the varnish if it is not wiped away after each playing session. Rosin dust should always be wiped off the strings and fingerboard as well.For this purpose, it is best to use a soft cloth. However, avoid using the same cloth to  clean  the rest of the body, as any rough flakes of rosin that may be sticking to the cloth could scratch the varnish, and a fine layer of rosin dust from the cloth would be distributed all over the instrument, eventually dulling the varnish.   A well-equipped violin case should always contain two cloths: one for wiping rosin away from affected areas and one for cleaning the rest of the violin. Pure alcohol can be used to remove more stubborn rosin build-up on strings, although extreme caution must be taken. Put a few drops of the alcohol on a clean cloth and rub the strings. Since alcohol damages the violin&#039;s varnish, however, it is very important to use a bare minimum so that nothing drips onto the instrument. This technique can also be used to clean the fingerboard, which is usually not varnished (see below). Other kinds of dirt such as grease are best avoided altogether.    Washing one’s hands before playing is not only a good habit, but an important means of maintaining the value of your stringed instrument. If there are marks that can not be completely removed by gently wiping with a cloth, try using  violin cleaning products , which are available from violin makers and music shops. In extreme cases, it is best to put the instrument in the capable hands of a professional luthier who is trained to know what product and the proper amount to apply in every situation. Another part of the violin that will need cleaning from time to time is the inside of the body. Dust collects in all violins, not just in those that have been hidden away in attics. The best way to remove dust is to sprinkle some household rice through the soundholes and gently but thoroughly roll them around inside. Grains of rice pick up dust very well, and they gently scrub the inside of the top, back and ribs.   Back to the top of the page  
 How to take care of the violin&#039;s varnish 
 The most important way to take  care of the varnish of a violin  was already discussed under &quot;How to clean a violin&quot;: carefully wipe off the rosin dust every time after playing. This little trick is more effective than all of the other broader measures which were ultimately only created to offset the damage which results from by failing to &quot;dust off&quot; the strings. Another way to take  care  of the varnish is to handle the instrument only by the neck so as to protect it from the sweat on your hands. Even the cleanest hands leave behind traces of sweat and acidic fatty compounds; in a best-case scenario, they make the varnish dull, and in a worse case they gradually erode it. Luthiers and specialist shops sell special polishes and care products that remove build-ups which are severe or have developed over a longer period. If a stringed instrument requires serious attention, the best thing is to consult a luthier, who has experience in selecting, dosing and applying the proper cleaning products.    Back to the top of the page   
 When to restring the instrument 
 Selecting the right time to  change one or more violin strings  depends on too many factors for us to be able to make a general statement. Different kinds of violin strings — gut, synthetic core, steel core — invariably have different life spans which can vary not only from brand to brand but even from string to string. The demands that can be placed on a string depend on the intensity with which you play and amount of daily practice time, the idiosyncrasies of each musician&#039;s personal technique and the instrument&#039;s structural features. Often a violin string to wear out prematurely or break if the ridges in the bridge and nut are too deep or too angled. Many good musicians, however, realize early on when a string has passed its prime because the sound and response are no longer as good as they should be. Visible damage such as unravelling can occur well before a violin string tears and should be taken as the occasion to  change  the  violin string  in question.    Back to the top of the page   
 How to put on or change violin string 
  Changing a single violin string  is very simple: if the old string is still wound on the peg, loosen it by turning the peg until the end of the string slips out of the small drilled hole, then release the other end at the tailpiece. Please note that you should use your other hand to keep the string from dangling loosely so that it does not scratch the stringed instrument. Once the violin string has been loosened, take a critical look at the grooves in the upper nut and bridge. If they have become too deep or have acute angles where the strings lay, please consult with a luthier; the grooves may need to be adjusted. You can make the tuning process easier and offset the tensions that can cause strings to break by rubbing a bit of graphite into the grooves to lubricate them: this lowers resistance and lets the strings move more smoothly. Use the lead of a soft pencil. 
 To put the new violin string in place, begin by threading the lower end (which has a ball or loop) into the tailpiece or fine tuner. Now keep gentle pressure on the lower end so that it does not slip out of place; use your other hand to thread the upper end into the peg hole, making sure that you have pushed the violin string all the way few and a few millimetres are visible on the other side of the peg hole. Then wind the string by turning the peg towards the scroll, gently pushing the peg deeper into the peg box as you go. Each violin string should be wound in such a way that it is tightly and closely wrapped. Criss-crossing the string on the peg can be helpful in keeping the string from slipping out of the peg hole too easily. Otherwise, however, the violin string should be wound so that it lies flat along the peg, since points of heightened pressure can make a string break more easily.&amp;nbsp; 
 Peg holes that are located too deep in the peg box can also squeeze the string between the peg and peg box, and the result will be another weak point. Violin strings which are too long can put pressure on the side wall of the peg box, and this too may cause them to tear. If this is the case, unwind the string and use a string trimmer to cut it to the appropriate length. As soon as most of the violin string has been wrapped around the peg,  care must be taken  to ensure that the string is positioned properly. As the tension increases, it has to be on top of and not next to the appropriate groove on the bridge and the nut; otherwise it could damage them. Particularly thin violin strings (especially the E string on the violin) should have a small protector placed on the spot where they rest on the bridge to prevent them from cutting too deeply into the wood. When you  replace a violin string , any fine tuners should first be unscrewed as much as possible. Afterwards, once you have brought the string up to pitch at the peg, you will have enough room to manoeuvre the fine tuner. If multiple violin strings or the entire set needs to be replaced, it is very important that you proceed one at a time – in other words, do not loosen all of the strings at once, but replace each individually. This keeps the bridge from falling over: the bridge is not mounted onto the body of the instrument, but held in place by the pressure of the strings. When changing multiple violin strings, you should also make sure that the bridge is still in its correct position and adjust it if necessary (see below). To  restring an entire violin string set , please follow the procedure described above for individual violin strings - making sure you change one string after another and never remove more than one violin string at the time.    Back to the top of the page   
 How to choose the right violin strings 
 Just two generations ago, the  choice of violin strings  was a simple matter: serious violinists played on gut strings, while steel strings were used on lesser instruments. Today the situation has completely changed. Since the 1920s, the quality of steel strings has continuously improved thanks to better manufacturing techniques. In addition, violin strings with a synthetic core have become a real alternative to gut strings. The sound produced by so-called “nylon strings” is practically as good as that of gut strings, which mainly find use today in historical performances on authentic period instruments. Synthetic violin strings also have certain advantages: they fit perfectly on almost any stringed instrument, stay in tune better and are generally stronger and more durable than gut strings. Corilon violins use Pirastro Tonica or Pirastro Evah Pirazzi on all instruments in their online catalogue. But Thomastik Dominant or Larsen Tzigane are also quite recommendable. Contemporary musicians choose violin strings that best match their musical preferences, their playing technique and especially their instrument. The best way to find the most suitable strings is to seek professional advice, for instance from an instructor or violin maker, and to try out various kinds and brands. Many violinists use a combination of different brands. Violin strings can be purchased both individually or as a string set.    Back to the top of the page   
 How to tune a violin 
 The starting point when tuning any stringed instrument is concert pitch a’, which, aside from a few regional preferences and traditions, is the universally accepted standard at 440 Hz. Using a tuning fork or a CD from a violin method book, first tune the a’ string. The best way to tune the other strings is to have a good ear. Learning to hear when the g – d – a’ and e’’ notes are tuned in intervals of perfect fifths is an important exercise that should not be underestimated. Many websites and smartphones feature tuning programs of variable quality. These are useful aids, but they can not replace tuning in fifths.Many violins have only one fine tuner on the tailpiece. Tuning such violins requires more practice because pegs are much harder to adjust than the lever-operated mechanism of a fine tuner.    Back to the top of the page   
 What to do about stiff or slipping pegs 
  Although violin pegs look deceptively simple, their physical mechanism is complex because it must fulfil two contradictory requirements: on the one hand, pegs must move easily so that the violin can be finely tuned; on the other hand, they should hold the strings firmly in place to that it stays in tune for as long as possible, regardless of changes in temperature or whether the instrument is moved from one location to another. No peg can maintain this balance over time without requiring some care. Problems tend to occur at the beginning and end of the heating season, when temperature changes cause the wood of the pegs to contract or expand. Peg lubricant helps stiff pegs turn more smoothly and can be purchased from a violin maker or music shop. Peg chalk solves the opposite problem and prevents slippage. Pegs can be prevented from sliding out when new violin strings are put on: guide the string so that it lies very close to the edge of the peg box as you wind it. Whatever the violin case may be, the pegs must always fit well. Violins should be looked over regularly by a luthier, who will then check the condition of the pegs. 
   Back to the top of the page   
 How to straighten and position the violin bridge 
 Many violin bridges yield to the increasing tension of the strings from tuning and lean somewhat towards the fingerboard, a situation which can be manually corrected by applying even pressure with both thumbs. &amp;nbsp; However, &amp;nbsp;straightening or adjusting the violin bridge &amp;nbsp;correctly can involve a certain risk, since any bridge collapse during adjusting it incorrectly can damage the instrument&#039;s table. It must also be said that many musicians are often too timid to correct the bridge position themselves or put a violin bridge back in place if it has fallen.&amp;nbsp; 
 If the violin bridge has fallen over, take a brief look through the sound hole to make sure that the sound post is still standing as well. If it is, you can put your violin bridge into position. If the sound post has fallen, however, you must take your instrument to a&amp;nbsp; luthier. &amp;nbsp;If the sound post is still standing, the violin bridge is centred between the notches of the sound holes, ideally at a perpendicular angle to the top of the violin. It is then anchored in this position gradually by the strings being slowly tightened. As the violin strings gradually reach the proper pitch, check repeatedly from above and from the side to be sure that the violin bridge is still in the right position and full the top of the bridge backwards according to our&amp;nbsp; video instructions on how to straighten a violin bridge . Often musicians go ahead and place their bridge at a slight angle towards the tailpiece so the position corrects itself while tightening the strings. This approach calls for a sensitive touch and good knowledge of your own instrument.&amp;nbsp;Since the position of the bridge has a major impact on the instrument&#039;s sound, adjusting the bridge can be used to improve the sound as well (see below). 
   Back to the top of the page   
 &amp;nbsp; 
 
    
  Video instructions: how to correctly straighten your bridge  
 
 &amp;nbsp; 
 &amp;nbsp; 
 When to replace the violin bridge 
 There are two things which will allow you to see when the time has come for a violin bridge to be replaced: the depth of the ridges on which the strings rest, and the fact that the bridge has warped towards one side, usually towards the fingerboard. Both of these signs of use affect the sound and ability to play the stringed instrument, which means that imperfections in the sound may also be a sign that a new violin bridge is necessary.Even though it is easy to order violin bridge blanks on the Internet nowadays, adjusting a bridge to the instrument is a task that requires extensive experience and training. This should be left to a  violin shop  or luthier and not attempted at home.    Back to the top of the page   
 How to install fine tuners on violin and cello 
 To install new fine tuners on your instrument, you only need a bit of technical knowledge and a delicate touch. First, remove the screw and the nut from the fine tuner. Then, loosen the string in question until the ball end can be removed from the tailpiece. Make sure the string is only loosened as much as is necessary; the top of the body should not be scratched. Now the new fine tuner can be installed into the opening from below where the string was before; after that, put the screw and the nut in place again, hook the ball into the holder on the fine tuner, and tune the string. When dealing with thicker strings, it may be helpful to keep the slot held open carefully using a knife or a similar tool.     After all of the fine tuners have been installed, the violin should be re-tuned with the tuning pegs so that the tuning screw of the fine tuners can remain extended as far out as possible. Depending on the individual distance between the body and the tailpiece, the mechanism of the fine tuner can quickly reach the top of the violin and cause unnecessary scratches to the varnish. If there are buzzing or rattling sounds after you have installed the fine tuners, you may need to tighten the nut. One interesting alternative to fine tuners on the tailpiece is installing special Wittner pegs with self-inhibiting gear mechanisms; here, the tuners are located inside the pegs deep in the holes of the pegbox, and they make it possible to fine tune without creating undue wear on the pegs. Since this approach means the strings are hooked directly into the tailpiece, their resonant length below the bridge increases, which often has a positive effect on the violin&#039;s sound. There are also fine tuners which have a hook for strings with looped ends instead of ball ends, and they yield similar results. They are shorter, which means the interval between the bridge and the tailpiece is larger than it is with the strings that have a ball end.    Back to the top of the page   
 How to take care of the violin fingerboard 
 As is the case with the rest of the stringed instrument, regularly cleaning off the rosin dust every time after you play is the simplest, best and most effective long-term way of taking care of the fingerboard. Here you need nothing more than a soft microfiber cloth (or something similar) which can also be used to clean the strings and fingerboard.Older or more persistent grime on unvarnished fingerboards can certainly be removed by applying a very small amount of rubbing alcohol or ethyl alcohol. As is the case in cleaning the violin strings, however, great caution must be exercised here to make sure that no alcohol whatsoever comes in contact with the top, where it could damage the varnish. Please be very careful if the fingerboard has inlays; if in doubt, consult with a luthier first. The colour of hardwood fingerboards with black varnish can be affected by the use of alcohol, although this is easily corrected and is a purely aesthetic problem. After cleaning, treat the fingerboard by lightly rubbing it with a cloth on which you have placed a few drops of oil; as a rule, this will restore a beautiful sheen as well. You can use any kind of vegetable oil that is very pure, such as a good-quality linseed oil or olive oil. Generally you will not even need to loosen the strings when you do this. If grooves have formed on the fingerboard after long and intense use, this certainly does not mean that the instrument has to undergo the complicated process of replacing the fingerboard. A luthier with the right tools can level a good fingerboard many times without affecting the playability or sound of the violin. This is exactly how the  specialists in our atelier  handle the historic stringed instruments which may still feature fingerboards that have survived for generations. Re-levelling the fingerboard is a perfect solution which saves the instrument the risks of undergoing such extensive modification.    Back to the top of the page  &amp;nbsp; 
 How to improve the violin&#039;s sound 
  Optimising the sound of a violin  or of any stringed instrument not only calls for expertise and experience, but for patience in finding the correct settings by deliberate trial and error. Even professionally set-up instruments may benefit from readjustment if they do not adequately meet the demands of an individual player&#039;s technique or satisfy their new owner&#039;s acoustic expectations.  The most important measures for improving the sound include repositioning the sound post and violin bridge, which can have a deliberate effect on certain frequency ranges. If you are extremely cautious, you can certainly try your hand at adjusting the violin bridge yourself, but moving the sound post is clearly a task for a professionally luthier. This is also the case when it comes to repositioning the bass bar, another modification that can be very effective but is very technically demanding. Many times, however, musicians who have chosen their violin carefully and found the right instrument can often achieve the desired effects with far simpler methods. For example, using different rosin not only alters the responsiveness of the violin, but its sound as well. Selecting different strings can open entirely new aspects of an instrument&#039;s voice. Cellists in particular have a great deal of experience in blending sets of strings, and they develop a certain virtuosity in finding just the right A string. Last but not least, there is great potential for change in a stringed instrument&#039;s most important &quot;accessory&quot;: the  violin bow . Many musicians invest a great deal of time looking for a better violin until they realize that a different bow gives them new and previously unexplored musical options in their playing.    Back to the top of the page   
 &amp;nbsp; 
  Related articles:  
  The violin wolf tone : Taming the wolf in a stringed instrument 
  Contemporary violin makers : the modern artisans 
  How to select a violin, provenance, value and violin appraisal  
  The violin bow: practical tips on care and maintenance  
  Sell your violin to Corilon violins  
  The history of the violin bow  
  Student violins : a few answers to frequently asked questions 
  Finding a student violin in the proper size  
  Contemporary violin makers from China and Taiwan  
  Silent electric violins  - a guide to technical standards and quality characteristics 
 Originally published by Corilon violins. 
                ]]>
            </content>

                            <updated>2019-03-22T01:00:00+01:00</updated>
                    </entry>

    
    
        <entry>
            <title type="text">Corilon violin&#039;s link page</title>
            <id>https://www.corilon.com/gb/library/practical-advice/corilon-violin-s-link-page</id>
            <link href="https://www.corilon.com/gb/library/practical-advice/corilon-violin-s-link-page"/>
            <summary type="html">
                <![CDATA[
                
                                            Corilon violin&#039;s link page
                                        ]]>
            </summary>
            <content type="html">
                <![CDATA[
                    
      
 Visit  Master the cello - How to play cello using the revolutionary Dounis Method  
 Visit  Harry Wimmer&#039;s Cello page , &quot;the joy of cello playing&quot; 
    
                ]]>
            </content>

                            <updated>2019-01-01T17:01:00+01:00</updated>
                    </entry>

    
</feed>
