With high-end bespoke musical instruments, "trying before buying" is not usually a realistic possibility. It NEVER has been. Potential buyers who cannot wrap their minds around this fact are limited to used instruments or mass-produced instruments from large musical instrument mega-stores, who have the cash reserves necessary to absorb the losses associated with returns as part of the cost of doing business. Buying a master level instrument is a lot like buying a new car - once you drive it off the lot, it is yours. This is why most instrument makers, including us, work very hard to build a great reputation for quality and trustworthiness.
Nevertheless, musicians planning on purchasing musical instruments often want to hear these instruments being played by accomplished musicians. Seeing the instruments being played is even better. Making this happen has always been easier said than done. The fact is, it is exceedingly difficult to produce a well-executed professional quality audio recording. Making a compelling video recording is even harder. For this reason, obtaining good video demonstrations of our instruments has always been a rare treat. We are delighted and awestruck by a recent video recording of the brilliant performance of Andrew Gonzalez, for whom we recently completed a Violoncello da Spalla set up in full Baroque configuration. Andrew, you have our compliments and gratitude.
Watch the video and be amazed!
The violoncello da spalla is a small 5-string cello that is held across the chest, suspended by a small shoulder strap; hence, the name, which, in Italian means literally "cello of the shoulder". It is often described as a "cello for violinists and violists". We are one of only a handful of makers worldwide. As Andrew Gonzalez clearly demonstrates in the video, this instrument is ideal for Baroque repertoire, especially the notoriously difficult-to-play cello works by Bach. We are absolutely certain that this instrument is also a heavenly match for Celtic music (especially Scottish Highland), as well as Contra Dance and Old-time repertoires, particularly the "Down-East" (i.e. New England and Canadian Maritime provinces) variants. How would you like to be the first fiddler on your block to bring one of these to a session?
We have just completed the first of three current commissions for our new Violoncello da Spalla. We will periodically publish reports, including video recordings, of this new instrument as it is put through it paces by its owner, a top Baroque period musician based in New York and Virginia.
The violoncello da spalla is a small 5-string cello that is held across the chest, suspended by a small shoulder strap; hence, the name, which, in Italian means literally "cello of the shoulder". It is often described as a "cello for violinists and violists". We are one of only a handful of makers worldwide.
These are all instruments that are 100% hand-made in our North Georgia (USA) workshop.
Those who are familiar with us know that we don't ever try (or care to be) the low-cost providers. We are FAIR PRICE providers. Indeed, these are hardly the most expensive instruments we make, but neither are they cheap. In other words, they are ONLY for truly committed musicians. If you are starting to think seriously about any of them, there is no better time than now, as you will save a lot of money. For the violoncellos da spalla, a 50% deposit is all that is needed.
The list of instruments above are also links to their respective product pages at our online store.
We recently introduced two new instruments, the Baroque Violoncello da Spalla and the Cello da Spalla Moderno. This was in response to a significant increase in the number of inquiries about these amazing baritone range instruments. Response has been incredible. We are currently building four of these instruments for customers.
The “Baroque” model is a faithful reconstruction of an 18th Century violoncello Spalla, specifically the instrument by Johann Christian Hoffmann (1732), as specified by Dmitry Badiarov. Its price is $7500. The “Moderno” model is a modern take on the original design. Its price is $6500. There are numerous options for each of the two instruments.
So, what is a Violoncello da Spalla?
The violoncello da spalla (Italian for “cello of the shoulder”) was, until fairly recently, a 5-string instrument of the violin family from the Baroque period that had fallen into obscurity. It is a small instrument, about the size of a modern 1/10 size cello, that is tuned to C, G, d, a, e’ (i.e. like a cello with an additional string on the treble side that is tuned to e’, which is an octave lower than the e” string on a violin). If comparing it to a violin, the violoncello da spalla is rather large; about the size of a huge viola, but twice as deep.
In fact, the Violoncello da Spalla has more than twice the internal air volume of a typical octave viola or “chin cello”. In other words, it is large enough to produce a powerful and full-bodied baritone roar far exceeding the sound output of even the most sonorous chin cellos (one of those laws-of-physics things).
How is it played?
The violoncello da spalla has been described as a bass for violinists. Unlike the modern “chin cello”, a.k.a. the octave viola, which is played under the chin (see image below),
the violoncello da spalla is held across the chest, secured with a strap around the shoulder and neck, as you can see in in the photo below of Dmitry Badiarov, a leading figure in the current revival of the instrument. It is this method of holding the instrument to which the “da spalla” in its name refers. “Da spalla” (pronounced in English exactly as it looks—da-spal-la, NOT da-spa-ya!) is Italian for “of the shoulder”. Violins and violas are played “da braccio”, which means “of the arm”.
One would have to be an incredibly large person to play it comfortably under the chin as one plays a violin or viola!
The Two New Instruments Side by Side
As stated in the Introduction, the Baroque Violoncello da Spalla meticulously replicates a Baroque instrument; whereas, the Cello da Spalla Moderno is a modern interpretation designed for contemporary players, particularly fiddlers, violinists and violists performing in traditional, folk, and any number of alternative genres. Both instruments are tuned the same way, which is like a cello but with an e’ string on the treble side. They, at first glance, look pretty much the same. Indeed, they do have identical bodies that are about 18” long with 3” ribs, so what are the actual differences?
To help understand the differences, the key words to keep front of mind are the terms “baroque” and “modern”. As with violins, violas and full-size cellos, a violoncello da spalla in true Baroque configuration will differ in significant ways from one in modern configuration. The most important differences have to do with the neck set, fingerboard, tailpiece, tailgut, string composition and to a lesser extent, the saddle and bridge. The strings may or may not be different, as many musicians playing otherwise “baroque” instruments choose to use modern strings and even state-of-the-art internally-geared tuning pegs that look essentially like old style wooden pegs.
As mentioned at the beginning of this article, for details about each instrument, you will want to visit the product descriptions at the Don Rickert Musician Shop:
Summary of Differences Between the Baroque Violoncello da Spalla and the Cello da Spalla Moderno by D. Rickert
Baroque Violoncello da Spalla
Cello da Spalla Moderno
Neck Set
(See illustration below.)
Less acute angle at the body
Very little rise above the body
More acute angle at the body
Substantial rise above the body
Vibrating string length
About 16.65” (423mm)—like a small cello
About 15.5” (394mm)—like a large viola
Fingerboard
(See illustration below.)
“Wedged” to compensate for shallow neck angle and lack of rise
Spruce core with veneers of ebony and/maple, per Baroque practice
“Modern” fingerboard
Solid ebony
Tailpiece
Maple base w/ veneer(s) to match the fingerboard
Solid ebony
Tailgut
Twisted gut
Nylon, stainless steel or Kevlar™
Saddle
Ebony or synthetic ivory w/ no rise (essentially flush with edge of the body)
Ebony w/ significant rise
Bridge
(See illustration below.)
Baroque style “fanned” bridge
Baroque style “fanned” bridge
Strings
Gut or custom-gauged wound synthetic core
Modern Octave Viola Strings
Tuning Pegs
Traditional ebony or, optionally, Wittner planetary if synthetic core strings are used
Wittner planetary
Notes and Elaboration on Specific Differences
Neck Set
Angle
It is commonly held myth that violin family instruments of the Baroque period all had necks with little or no “angle back” (88 degrees to 90 degrees at the heel). See the illustration below, which shows the “ideal” Baroque cello vs. a modern cello.
In reality, many Baroque violin family instruments, especially cellos, had necks with rather acute heel angles, some even in the low-80s, just like modern instruments. In any case, the surviving violoncellos da spalla of the early 18th Century have necks that are angled back almost as much as a modern cello. Our Baroque Violoncello da Spalla replicates a near-modern neck angle of about 84 degrees. Our Cello da Spalla Moderno, on the other hand, has a modern neck angle of 83 degrees.
Rise
Neck rise, also known as “over-stand” is illustrated in the image above. Our Cello da Spalla Moderno has a neck rise of about 15mm, which is consistent with a modern cello of its body size. Our Baroque Violoncello da Spalla has a very low over-stand of about 7mm, per Baroque practice.
Neck Length and Vibrating String Length
Neck length
The “ideal” neck lengths for violin family instruments made in relatively recent history are determined, more or less, by specific proportions in relationship to instrument bodies. For cellos of any size, the ratio of the neck length to “stop distance” is 7:10 (70%). For violas and violins, that ratio is 2:3 (about 66.33%). The ratios determining neck length were not as standardized during the Baroque period as they are today. In general, Baroque period necks were shorter than those of modern instruments. The image below shows from where measurements for neck length and stop distance are taken.
An important take-away is the neck for a large viola with the same stop distance as a small cello will have a shorter neck. In practice, the necks of very large violas can be substantially shorter than 66% of the stop distance. The necks of violas, especially older large ones can be as short as 60% of the stop distance.
Our Baroque Violoncello da Spalla has a longer neck than the Cello da Spalla Moderno; just over 1 inch longer. The Baroque model replicates the necks on the 18th Century instruments on which it is based. Its neck length is proportionately equivalent to modern cellos. The Moderno model, on the other hand, has a neck length closer to what one might expect on a viola with an equivalent body length (i.e. shorter than a cello neck). This allows the use of standard modern octave viola strings.
Vibrating string length
All other variables being held constant, a longer neck results in a longer vibrating string length. As shown in the Summary above, our Baroque Violoncello da Spalla has a vibrating string length of about 16.65” (423mm); whereas, the Cello da Spalla Moderno’s vibrating string length is about 15.5” (394mm).
Fingerboard
Our Baroque Violoncello da Spalla has a proper baroque fingerboard, as detailed below. Our Cello da Spalla Moderno has a modern ebony fingerboard or a “semi-baroque” fingerboard of ebony over maple.
Fore-Aft Shape (i.e. fingerboard wedge)
A violin, viola or cello in Baroque configuration is often described as having a “wedge” between the fingerboard and the neck. Actually, the “wedge” is not a separate piece but, rather, is part of the fingerboard. See the image below.
The purpose of the fingerboard wedge is to allow for a bridge that is high enough for good sonority. Remember that there is less neck rise and less neck angle back on an instrument in Baroque configuration.
Neck Materials and Construction
While actual baroque period fingerboards cut from a single piece of ebony or maple wood are not unheard of, many, if not most baroque violin family instruments had composite (aka veneered) fingerboards. See the images below.
A Baroque composite fingerboard consists of a core of spruce, with thick veneers (3.5mm to 4.5mm) of either figured maple or ebony glued to the sides. A thinner veneer of either ebony or maple is glued to the top arched part. Often the top veneering employs various decorative marquetry techniques using at least two types of wood, or at least simple decorative purfling.
Tailpiece
Our Baroque Violoncello da Spalla has a baroque tailpiece, as described below. Our Cello da Spalla Moderno has a modern ebony fingerboard or a “semi-baroque” tailpiece of ebony over maple.
A baroque tailpiece, often decorated to match the fingerboard, generally has more of a square-edged shape than a modern tailpiece. See the illustrations below.
Tailgut
The most significant difference between baroque and a modern tailpiece is the attachment method. Thick gut cord is threaded through two holes through the tailpiece near its base. The cord is either knotted or the two ends are joined using a technique known today as the “Stradivari stitch”. The images below show tail guts tied in this manner.
Saddle
Typically, a baroque violin, viola or cello has no saddle per se, but rather an insert of bone, maple or ebony in the same place a modern raised saddle would go. The baroque insert can be thought of as a very low saddle. The rather stiff 3mm diameter (on average) tail gut cord ends protruding from the bottom of the tailpiece serve to raise the tailpiece substantially.
Bridge
Our Baroque Violoncello da Spalla and Cello da Spalla Moderno share the same bridge. See the image below.
Strings
The Baroque Violoncello da Spalla is can use any combination of period gut or modern synthetic strings. The Cello da Spalla Moderno is made to use octave viola strings (SuperSensitive Sensicore). It is NOT optimized for gut strings.
Tuning Pegs
The standard tuning pegs for the Cello da Spalla Moderno are Wittner FineTune™ planetary pegs. The standard pegs for the Violoncello da Spalla are baroque type wooden pegs; however, it can be fit with Wittner pegs. The Wittner pegs are not suitable for period gut strings.
Introductory Price: $6,500. You can place your order with a 50% deposit.
Introduction
We are very pleased to announce our new Cello da Spalla Moderno right on the heels of our recent Baroque Violoncello da Spalla announcement. The Cello da Spalla Moderno is a modern reinterpretation of the 18th Century violoncello da Spalla and is designed for contemporary players, particularly fiddlers, violinists and violists performing in traditional, folk, and any number of alternative genres. Just as a modern violin is routinely used to play Baroque music, so can the Cello da Spalla Moderno.
The Cello da Spalla Moderno is, like all “da spalla” instruments, played suspended by a strap across the chest; however, this instrument is much easier for a fiddler or other non-cellist to play due to its modern synthetic core strings and shorter (about 1.33 inches / 33.78 mm) playable string length, which is about the same as a large viola (15.2 inches / 38 mm). Its string length allows us to string it with standard octave viola strings (SuperSensitive Sensicore), which are readily available and quite affordable. Further, because the strings are not Baroque period replica gut, the Cello da Spalla Moderno can be, and is fit with state-of-the-art Wittner FineTune™ planetary geared tuning pegs, which are nothing short of amazing. Changing from standard to alternative tunings and back again is a snap.
The Cello da Spalla Moderno’s body is identical to our Baroque Violoncello da Spalla’s. It has more than twice the internal air volume of a typical octave viola or “chin cello”. In other words, it is large enough to produce a powerful and full-bodied baritone roar!
The violoncello da spalla (Italian for “cello of the shoulder”) was, until fairly recently, a 5-string instrument of the violin family from the Baroque period that had fallen into obscurity. It is a small instrument, about the size of a modern 1/10 size cello, that is tuned to C, G, d, a, e’ (i.e. like a cello with an additional string on the treble side that is tuned to e’, which is an octave lower than the e” string on a violin). If comparing it to a violin, the violoncello da spalla is rather large; about the size of a huge viola, but twice as deep.
It is thought by many experts that the violoncello da spalla was invented, or at least perfected, by the German luthier, Johann Christian Hoffman, a contemporary and probably a close friend of Johann Sebastian Bach. Bach’s purported close relationship with J. C. Hoffmann has led to a now popular theory that Bach had a hand in the invention of the violoncello da spalla. This belief continues to be debated by experts who study the history of musical instruments.
Anyway, what is now widely regarded as the primary candidate for distinction as the original violoncello da spalla, having been previously misclassified as either a viola pomposa, viola da spalla or piccolo cello, was made in 1732 by Hoffmann. It is this instrument that, today, is the de facto “gold standard” for a proper violoncello da spalla.
The modern resurrection of the violoncello da spalla, and widespread attribution of the instrument’s invention to Hoffmann, is due largely to the Russian-Dutch luthier and media celebrity, Dmitry Badiarov. Badiarov, based in The Hague, introduced his first violoncello da spalla in 2004, essentially after Hoffmann, albeit, considerably more refined than the original 1732 instrument. While Badiarov, and his collaborator, Sigiswald Kuijken, are more well-known, it was earlier research by the Dutch violinist and violist, Lambert Smit, that laid the groundwork for Badiarov and others involved in the resurgence of the violoncello da spalla. Smit is regarded by many as the true father of the modern revival of the violoncello da spalla. Indeed, it was Smit who first posited the involvement of Bach, himself in its invention. It was also Smit who surmised that Bach’s Cello Suites and Cantatas were written, not for the full-size 4-string cello, but rather for the much smaller and manageable 5-string violoncello da spalla.
How is the Violoncello da Spalla played?
The violoncello da spalla has been described as a bass for violinists. Unlike the 5-string chin cello, a.k.a. the 5-string octave viola (see image below),
the violoncello da spalla is held across the chest, secured with a strap around the shoulder and neck, as you can see in in the photos below of Lambert Smit and Dmitry Badiarov.
The violoncello da spalla is easily (a relative term) played by violinists and violists. Indeed, experts believe that the instrument was invented in the early 1700s in order to minimize the learning curve of accomplished violinists and violists desiring to play a baritone range instrument.
Learning to bow the Violoncello da Spalla does not take much time at all. That being said, any, if not most, experienced violinists and fiddlers, whose experience is primarily in playing the lead melody, will probably need to brush up on their music theory, particularly the principles for improvising baritone/bass harmony and chords. Put another way, they will have to learn the mostly lost art of basso continuo. Of course, there are many fully-scored solo pieces for violoncello from the Baroque period, especially by J.S. Bach.
Interest in these newly re-discovered instruments is growing as part of an overall re-discovery of Baroque music and Baroque instruments, particularly those played with a bow.
Our violoncello da spalla is, in part, based on measurements taken from the surviving instrument by Johann Christian Hoffmann (1732). Unlike the original, it has a neck length calculated according to the modern standard neck length to stop distance ratio of 2:3 for a huge viola with the same size body. As would be expected, our Cello da Spalla Moderno is 5-string instrument with a body length of 18 inches (45.5cm). It is tuned to C, G, d, a, e’. In other words, the tuning is the same as a full-size cello, but with an additional string on the treble side that is tuned to e’ (an octave lower than the e” string on a violin). It is held across the chest, suspended by a strap around the players neck, not unlike a modern guitar, but much closer to the chin (see the images above).
Approximate Critical Dimensions
Overall length: about 29” (73.65 cm)
Body length: 18” (45.5cm)
Upper bout width: 8.25” (21.5cm)
Lower bout width: 10.25” (26cm)
Ribs: 3.15” (8.0cm)
Playable String length: 15.2” (38 mm)
Nut width and string spacing: 32mm with; 25mm spread with average of 5mm between strings
Hard shell case for a ¼ size cello. This is the smallest hard shell cello case made by ANY manufacturer. We modify the ¼ size case to fit the proposed instrument perfectly by adding foam padding.
Optional Custom Case
A modified ¼ size cello case has outside dimensions that are much larger than those of a custom-sized case would be. A custom case for this instrument is certainly possibly; albeit, expensive (see pricing below). The modified 1/4 size cello case we provide works just fine. It is just larger than it needs to be. About 50% of our customers opt for a custom case that is "right-sized".
A custom case for this instrument has a plan (front) profile slightly larger than a shaped viola case. Of course, it is considerably deeper than a viola case. The case weight depends on the materials, and generally weighs less than 10 lbs.
We can make custom a case from durable and beautiful heavy saddle leather, molded composite wood veneers or Kyvex™ (a very attractive and lightweight thermoplastic material).
The shell materials and prices are shown below. Note that the prices are discounted to reflect subtraction of the cost of a modified ¼ cello case, which would otherwise be supplied as part of the instrument purchase price.
Composite wood veneer (aka molded plywood): $850
Kyvex™, a lightweight polymer material: $950
Heavy saddle leather: $1300
We also sell custom-sized flight cases, which weigh about 25 lbs.
If you wish to discuss a custom-made perfectly sized case for this instrument, let us know.
Bow
Of course, the Cello da Spalla Moderno can be played with a Baroque bow. The modern synthetic core strings will respond better to a modern cello bow. We recommend a bow of ¾ size or even ½ size.
In any case, the bow is your responsibility. If you like, we will find you the best deal possible for a Baroque cello bow in whatever price range you desire. We sell some very fine modern bows. The least expensive suitable bows start at about $450.
Where is the Instrument Made?
The most critical work in making our Cello da Spalla Moderno, including graduation, carving and setting the neck, varnishing, authentic Baroque fingerboard and tailpiece, peg fitting and setup is done in our workshop, which is located in Hiawassee, Georgia, USA. Some special work, such as computer assisted plate tuning, is usually done in the workshop of our affiliate lutherie in North Carolina, USA.
Some work, notably the partial completion of the body, if performed by one of several highly-trusted lutheries in Hong Kong or Beijing. The materials are the highest grade. The top is tightly-grained spruce, either Alpine or Carpathian. The back and sides are well-flamed maple, usually Bosnian, which is especially-prized for fine string instruments. The neck and scroll are generally flamed American Maple.
Our utilization of proven master craftspersons in China for the initial body construction saves us about two weeks of work. This is why we can offer our Cello da Spalla Moderno for of price of only $6,500. If you wish to have an instrument made entirely in our Georgia, US workshops, please feel free to contact us. The base price is about $13,000 and the minimum wait currently is 6 months, but can be up to a year.
Introductory Price: $7500. You can place your order with a 50% deposit.
We announced this very cool instrument just several weeks ago and are already building three for customers. As of this writing, the next one ordered would be completed by mid-Summer, 2018.
We are the one of the sources in the U.S. for true replicas of this 18th Century instrument.
Introduction
Over the past year, we received a number of inquiries about the violoncello da spalla. Recently, we started making them on a custom basis. We, in fact have a healthy backlog of commissions for these instruments. We decided that the time is right for the violoncello da spalla as a standard product offering. Ours is a meticulously replica of an 18” violoncello da spalla in proper Baroque configuration. While the instrument is built for gut strings, it can be strung with more trouble-free and sonorous modern synthetic core (i.e “Perlon”) strings.
The violoncello da spalla (Italian for “cello of the shoulder”) was, until fairly recently, a 5-string instrument of the violin family from the Baroque period that had fallen into obscurity. It is a small instrument, about the size of a modern 1/10 size cello, that is tuned to C, G, d, a, e’ (i.e. like a cello with an additional string on the treble side that is tuned to e’, which is an octave lower than the e” string on a violin)
It is thought by many that the violoncello da spalla was invented, or at least perfected, by the German luthier, Johann Christian Hoffman, a contemporary and probably a close friend of Johann Sebastian Bach. Bach’s purported close relationship with J. C. Hoffmann has led to a now popular theory that Bach had a hand in the invention of the violoncello da spalla. This belief continues to be debated by experts who study the history of musical instruments.
Anyway, what is now widely regarded as the primary candidate for distinction as the original violoncello da spalla, having been previously misclassified as either a viola pomposa, viola da spalla or piccolo cello, was made in 1732 by Hoffmann. It is this instrument that, today, is the de facto “gold standard” for a proper violoncello da spalla.
The modern resurrection of the violoncello da spalla, and widespread attribution of the instrument’s invention to Hoffmann, is due largely to the Russian-Dutch luthier and media celebrity, Dmitry Badiarov. Badiarov, based in The Hague, introduced his first violoncello da spalla in 2004, essentially after Hoffmann, albeit, considerably more refined than the original 1732 instrument. While Badiarov, and his collaborator, Sigiswald Kuijken, are more well-known, it was earlier research by the Dutch violinist and violist, Lambert Smit, that laid the groundwork for Badiarov and others involved in the resurgence of the violoncello da spalla. Smit is regarded by many as the true father of the modern revival of the violoncello da spalla. Indeed, it was Smit who first posited the involvement of Bach, himself, in its invention. It was Smit who surmised that Bach’s Cello Suites and Cantatas were written, not for the full-size 4-string cello, but rather for the much smaller 5-string violoncello da spalla.
Since 2004, the violoncello da spalla has grown exponentially in popularity, largely due to Badiarov’s tireless ongoing research, teaching and publishing. Of, and he also has made quite a few of these unique and very cool instruments for world-famous musicians.
How is the Violoncello da Spalla played?
The violoncello da spalla has been described as a bass for violinists. Unlike the 5-string chin cello, a.k.a. the 5-string octave viola (see image below),
the violoncello da spalla is held across the chest, secured with a strap around the shoulder and neck, as you can see in in the photos below of Lambert Smit and Dmitry Badiarov.
The violoncello da spalla is easily (a relative term) played by violinists and violists. Indeed, experts believe that the instrument was invented in the early 1700s in order to minimize the learning curve of accomplished violinists and violists desiring to play a baritone range instrument.
Learning to bow the Violoncello da Spalla does not take much time at all. That being said, any, if not most, experienced violinists and fiddlers, whose experience is primarily in playing the lead melody, will probably need to brush up on their music theory, particularly the principles for improvising baritone/bass harmony and chords. Put another way, they will have to learn the mostly lost art of basso continuo. Of course, there are many fully-scored solo pieces for violoncello from the Baroque period, especially by J.S. Bach.
Interest in these newly re-discovered instruments is growing as part of an overall re-discovery of Baroque music and Baroque instruments, particularly those played with a bow.
Our violoncello da spalla is based on measurements taken from the surviving instrument by Johann Christian Hoffmann (1732). As would be expected, our Violoncello da Spalla is 5-string instrument with a body length of 18 inches (14.5cm). It is tuned to C, G, d, a, e’. In other words, the tuning is the same as a full-size cello, but with an additional string on the treble side that is tuned to e’ (an octave lower than the e” string on a violin). It is held across the chest, suspended by a strap around the players neck, not unlike a modern guitar, but much closer to the chin (see the images above).
Approximate Critical Dimensions
Overall length: 30” (75cm)
Body length: 18” (45.5cm)
Upper bout width: 8.25” (21.5cm)
Lower bout width: 10.25” (26cm)
Ribs: 3.15” (8.0cm)
Playable String length: 16.53” (42cm)
Note about string length: The playable string length of this instrument requires a slightly disproportionately long neck length when compared to the “ideal” string and neck lengths of a modern 1/10 size cello or an 18” viola.
Varnish
A number of varnish options are possible. In all cases, the varnish is old-school hand-rubbed oil over an insulation layer of collagen (hide gelatin) and various mineral grounds.
Some players prefer the minimally pigmented varnish treatment of the surviving Hofmann instrument, which is shown above in the introduction.
Alternative 1
Alternative 2
Alternative 3
Other possibilities are illustrated in the images of some of our other Baroque instruments shown below. The varnish on these instruments is achieved by various combinations of amber, brown and red pigments.
Historically Correct Middle to Late Baroque Period (1700 to 1750) Setup
Micarta synthetic ivory nut and saddle
Micarta is a synthetic material that has the appearance of ivory. It is slightly softer than ebony and, thus, much kinder to gut strings. Further, ivory is absolutely banned worldwide!
Baroque type pegs (no ivory ring!)
If you want an “ivory” ring, it will have to be painted on, as even mammoth (i.e. “fossil”) ivory is illegal in many states as well as foreign countries.
True veneered spruce Baroque fingerboard
A proper Baroque fingerboard is not made from either solid ebony or maple. Rather, it has a core of quarter-sawn spruce, which is then clad with thick veneers (2mm to 3.5mm) of various woods, including ebony and figured maple. The fingerboard options are illustrated in images of our Baroque violins below.
Plain Ebony
Ebony w/Maple Border
Dark Maple w/ Natural Maple Border
Natural Maple w/ Dark Maple Border
True Baroque tailpiece
A Baroque Tailpiece can be made from solid ebony or boxwood; however, Baroque tailpieces are more often made from maple, which is then veneered to match that of the fingerboard (see the images above).
Correct bridge for a violoncello da spalla
The correct bridge is best described as a hybrid between an extra-wide (for 5-strings) viola bridge and an extra-wide cello bridge. There are no commercial manufacturers of blanks for such bridges; therefore, we make them for each individual instrument in our workshop.
Strings
Standard String Set
The standard string set for our Violoncello da Spalla is designed to achieve a balance between period authenticity and the expectations of the modern player with respect to sonority/playability/practicality, as well as reasonable cost. As one should expect, we also offer premium replica real gut strings.
Included in the price of your instrument is any combination of the following modern strings listed below. We will work with you to determine the best combination for your needs. String configuration is a matter for post-purchase discussion.
Chromium-wound high-carbon steel strings (a to C only) by Dogal (Venice, Italy)
These strings have a tension and feel that is quite similar to gut; however, they—
Are much more flexible (easier on the fingers)
Have a significantly smaller diameter than gut (affords superior left-hand playability as well as bowing)
Are noticeably more responsive and sonorous, with very even balance between the lower two and higher three strings.
Custom-gauged Sensicore (synthetic core) strings by SuperSensitive
This string set is quite similar in feel and response to the extremely popular SuperSensitive Sensicore Octave Viola and Octave Violin strings used on 4-string and 5-string “chin cellos”.
Gut Strings
We know that some players want to play a Baroque period instrument replica that is strung only with the type of strings that were available in the early 18th Century. We understand the appeal of gut strings, despite their high cost and typically short life. So, if you are committed to gut, we’ve got you covered. If you indicate that you may want gut strings, we will contact you to discuss the best string set to meet your requirements. We get our strings from the premier maker of historic reproduction gut strings, Gamut Music, Inc. (Dan Larsen). The additional cost for gut strings can range from $150 to $550!
The typical all gut string configuration for our Violoncello da Spalla is as follows:
e’: plain gut
a and d: Pistoy gut (rope twisted gut)
g and C: gimped or wound (copper or silver) gut
Note: Please be mindful of the fact that even wound gut C and g strings for a baritone range instrument of this small size have very large diameters (up to 3mm+) and are prone to breakage. The quest to reduce string diameters was a driving force behind the invention of modern strings.
Cases
As part of the purchase, we provide two cases:
A high quality padded soft case
Hard shell case for a ¼ size cello. This is the smallest hard shell cello case made by ANY manufacturer. We modify the ¼ size case to fit the proposed instrument perfectly by adding foam padding.
Optional Custom Case
A modified ¼ size cello case has outside dimensions that are much larger than those of a custom-sized case would be. A custom case for this instrument is certainly possibly; albeit, expensive (in the price range of $800 to $1,000 if for an instrument we make for you – more if not). The modified 1/4 size cello case we provide works just fine. It is just larger than it needs to be. About 50% of our customers opt for a custom case that is "right-sized".
A custom case for this instrument has a plan (front) profile slightly larger than a shaped viola case. Of course, it is considerably deeper than a viola case. The case weight depends on the materials, and generally weighs less than 10 lbs.
We can make custom a case from durable and beautiful heavy saddle leather, molded composite wood veneers or Kyvex™ (a very attractive and lightweight thermoplastic material). We also sell custom-sized flight cases, which weigh about 25 lbs.
If you wish to discuss a custom-made perfectly sized case for this instrument, let us know.
Bow
The bow is your responsibility. If you like, we will find you the best deal possible for a Baroque cello bow in whatever price range you desire. We sell some very fine modern bows, should you wish to go modern with the bow. The least expensive suitable bows start at about $450. As with modern bows, you can spend a huge amount of money for a Baroque bow.
Pochettes are 18th Century instruments whose popularity was primarily from the early 1700s through the 1780s; however, there are surviving examples dating back to the 1600s. The pochette (French for “pocket”) was a small violin-like instrument designed for easy portability. They are also known as “pocket fiddles” and “kit fiddles”. Pochettes were always quite a bit smaller in girth than full-size violins; however, their overall length, as well as playable string length varied from quite short (about that of ½ size violin or viololino piccolo, or even shorter) to the length of a regular fiddle. The longer pochettes were generally the later ones. Short scale pochettes were usually tuned to a higher pitch than a full-size violin.
How Did the Pochette or "Kit Fiddle" Get its Names?
Pochettes were small enough in girth to fit into a longish sheath sewn into one's coat. The sheath came to be known by the instrument's name: "pochette". This is the origin of the modern English word "pocket". Pochettes were also known as "kits" or "kit fiddles", primarily in England and, to a lesser extent, in Scotland. The name "kit" is an example of impossible-to-comprehend (to anyone but an Englishperson) English humor. The idea appears to have been that, if a full-size violin is analogous to a cat (a reference to "cat gut" strings...actually never made from cat guts, but rather sheep intestines), then a small violin would be, by analogy, a "kit", the English and Scottish nickname for a kitten.
Some surmise that the word “kit” may simply be slang for a mispronunciation of “pocket”, as in “pock-it”. This naming evolution is similar to how “loo” became slang for a toilet—in Britain, “waterloo” is a humorous reference to “water closet”, at one time the name for the closet-sized room in which an indoor commode or “Crapper” (the actual surname of the presumed inventor) would reside.
Who Played Pochettes?
Neil Gow
Pochettes seem to have been popular among fiddlers who traveled frequently by foot or horseback. Arguably, the two most famous players of pochettes were:
Niel (aka Neil) Gow(1727–1807), one of the founding fathers of Scottish fiddling
Thomas Jefferson(1743-1826), a principle author of the Declaration of Independence and the 3rd President of the United States
Jefferson's Pochette (Possibly?)
It is well documented that Neil Gow often played a pochette while on the day long hike to Blair Castle to play for dances, and then on the way back home. One of his proper violins was apparently kept at the castle. That very same fiddle resides, on display, at Blair Castle today.
In his later years, Jefferson, both a violinist and fiddler, often road on horseback from Monticello to Charlottesville for sessions in various pubs. Lore has it that he often made this trip with one of the two pochettes that he is known to have owned. The pochette was carried in a leather saddle case devised by Monticello’s master craftsman, one of Jefferson’s sons by Sally Hemming . . . but that is a whole different story!
The pochette’s real popularity was driven in large part by itinerant Dancing Masters (private dance instructors), who preferred very portable violins that could be carried, with its typically short bow, in a sleeve (called a pocket or “pochette”, as many were French) sewn onto the Dancing Master’s coats.
The Socio-Political Events that Gave Rise to the Profession of Dancing Master (and Indirectly, the Pochette) in the 18th Century
The Union of Scotland, England (including Wales) and Ireland as Britain occurred in 1707. Queen Anne, who had already acceded to the thrones of England, Scotland and Ireland in 1702, became the first monarch of Britain (and last Stuart monarch), as Anne, Queen of Great Britain and Ireland when the Treaty of Union took effect in 1707.
The Treaty of Union resulted in, among other things, England and Scotland having a shared Parliament. Suddenly, there was high motivation among the mercantile class in Scotland to learn to speak like the English (i.e. without a Lowland brogue) and to learn the latest English dances. These were things that the Scottish aristocracy, by and large, already knew how to do. Dancing at lavish parties was very much like the game of golf is today in the world of business networking.
Rise of the Dancing Masters
So, in major cities such as Glasgow and Edinburgh, there emerged a widespread perceived need for elocution (i.e. diction, pronunciation, grammar) coaches and dance instructors. The profession of Dancing Master filled at least the dancing part of that perceived need, and people were prepared to pay good money to have that need met. Most of the Dancing Masters were either French or Italian music tutors who knew enough about English dancing to sell themselves as qualified Dancing Masters. I am pretty sure that, at least in Britain, there existed no guilds overseeing the qualifications of Dancing Masters.
So, it was in the urbanized part of Scotland that the profession of “Dancing Master” appears to have really taken off. It should be noted that there were Dancing Masters in places other than Scotland; however, Scotland after the Treaty of Union, was the epicenter, at least during the Baroque and pre-Modern periods.
Dancing Masters typically visited clients’ homes. They were, in significant ways, the 18th Century equivalent of personal trainers who come to clients’ homes. The successful Dancing Masters were booked from morning to night. Carrying a full-size violin from appointment to appointment was a real chore, especially given the heft of a case capable of protecting a violin and bow from the Scottish weather (not pleasant much of the time). Manufacture of violin cases on anything approaching a large scale would not occur until the 19th Century. If you wanted a violin case during the Baroque period, it had to be custom-made.
The Baroque Violin Case
I have carefully studied the construction and common usage of existing violin cases from the Baroque period, including those made by the workshops of Antonio Stradivari. First, these cases were quite expensive, often costing much more than a violin that a Dancing Master could afford, and they were intended primarily as decorative storage containers for well-appointed music rooms. Indeed, they did not always have carrying handles. Most significantly, Baroque period cases were quite heavy, somewhere in the range from 10 lbs. (4.5 kg.) to 15 lbs. (6.8 kg.).
The potentially available cases were definitely not built to withstand rain, freezing rain and snow—the standard weather for much of the year in the Scottish Lowlands. The contemporary musician, armed with full understanding about the limitations of Baroque cases, should understanding why carrying around a full-size violin for an entire day’s worth of client appointments would have been effectively impossible, even if one could afford such as case.
The Pochette: Solution to a Real Problem
Pochettes or kit fiddles had already been around at least since the late 1600s. It is easy to understand why they were almost universally adopted by the 18th Century Dancing Masters.
How Does a Baroque Period Pochette Sound?
The short answer is nasty! So, here is the longer answer.
Early Pochettes
Later Pochette
Pochettes, particularly the earlier ones, often had substantially shorter playable string lengths than a full-size violin. The later ones, on the other hand, generally had a full 4/4 string length, but with much skinnier body, and usually a shorter body (in the 11.5" to 13" range) than a full-size violin, which has a 14" body. Except in very cases, Baroque-period pochettes lacked the two things that we now know are essential to good sound production, a sound post and proper bass bar. Short bows were often used to play pochettes, without a doubt contributing to a less than optimal sonority.
Most Baroque and Pre-Modern period pochettes and replicas sound horrible beyond comprehension (and we have heard many!). A toy kazoo, toy piano, comb and waxed paper, or slide whistle would have sounded better.
So that you can fully experience the range of sound quality for Baroque and Pre-Modern pochettes, take a look and listen to the videos below.
Great musicians - ludicrously small instruments!
Here is a really small pochette from the 1600s.
A slightly better-sounding pochette - really fine playing!
A later model - marginally acceptable sound (the instrument, that is - playing is great!)
Had They Only Know About the Physics of Violins!
The poor sound of historic pochettes and their replicas is curious to us. More than a decade ago, we were able to design and make a very sonorous and nice-sounding pochette by essentially copying the external dimensions of a late 18th Century Scottish pochette (in the Burrell Collection in Glasgow). The only substantial changes we made were to fit the instrument with a proper bass bar and sound post. We also enlarged the sound holes to the extent necessary to afford setting and adjusting the sound post. This, of course, made the sound holes more appropriately-sized (i.e. larger!) for good sound production. This instrument, which we still sell today as the Neil Gow Pochette, is available in the Baroque Instruments category of the online store for the Don Rickert Musician Shop.
If you are interested in knowing just how good a Baroque pochette replica can sound, see the following video.
Darci Jones playing a late 18th Century pochette replica by Donald Rickert
The Ergonomics of Historic Pochettes
With the 17th and 18th Century pochettes, ergonomic concerns were apparently not considered at all. Ergonomics (the British term) and Human Factors (the preferred American term), or the study of the relationship between people and things, are 20th Century fields of expertise. The only concern in the 1700s and 1800s was making the pochette small enough to be easily portable. Indeed, the whole idea of making a tool fit its user was not yet part of the zeitgeist—one simply learned how to use available tools and other objects. The idea of “human-centered design”, a basic principle for modern Industrial Designers (those who design objects for people to use, including musical instruments) would not emerge until the late 20th Century.
One could even argue that the violin itself is ergonomically sub-optimal. This is why so much attention has been devoted to making the violin more usable in the last century (e.g. chin rests, ergonomically-correct shoulder rests, etc.). In the case of pochettes, a playing technique involving resting on the instrument on the arm and tucking the tail into one’s underarm evolved. In order to envision this playing technique, imagine the “on-the-arm” instrument hold that some violinists and fiddlers in various musical genres use even today. One can clearly see this extremely awkward hold and playing technique in the videos above.
Conclusion
This concludes my brief introduction to that diminutive Baroque period relative of the violin, the pochette, a.k.a. kit fiddle. My next article will delve into the modern descendent of the pochette, commonly called a “travel violin” or “travel fiddle”. I will post a link here when the follow-on article about modern travels violins is posted.
Modern backpacker and travel violins are the highly-evolved great-great-great grandchild of the pochettes of the late 17th through the late 18th Centuries. Most modern travel violins or fiddles bear a strikingly similar appearance to their Baroque period ancestors. The similarity stops there. Indeed, there are significant differences. Most, but not all, modern travel violins are designed in such a way as to capitalize on what has been learned in the past 250 years about the physics of bowed instrument sound production. What this means, essentially, is that they can, but again, not always, sound MUCH better than Baroque pochettes, even the good ones.
Many, but certainly not all, designers of modern travel violins and fiddles, pay great attention to the ergonomic aspects of these small instruments. Primarily, these "human-centered" ergonomic design efforts are focused on removable chin rests and shoulder rests that, when installed on the travel violin, replicate the critical ergonomic improvements expected in a full-size violin or fiddle in modern configuration. Furthermore, the critical ergonomic dimensions of full size violins, such as body length, overall length and playable string length are, in most cases, rigorously adhered to.
Shameless Promotion
In the past 13 or so years, D. Rickert Musical Instruments has designed and made a large number of Baroque pochette replicas (about 40). We have designed and produced an even far greater number of state-of-the-art modern travel violins (more than 125).
In 2006, one of the first things we at D. Rickert Musical Instruments set out to do is to design and build the best acoustic octave violin possible. The octave violin or octave fiddle is tuned an octave lower than a regular violin; therefore, it is a tenor range instrument between the viola (alto range) and the cello (baritone). Octave violins are often incorrectly called “baritone violins”. In our early days, octave violins and early versions of our travel fiddles were the only instruments that we made.
When I use the phrase, “octave violin”, I am referring to a very specific type of modern instrument. An octave violin or octave fiddle, if you like, is a modified violin or at least a violin-sized instrument played under the chin. It is set up for and uses larger diameter strings and is tuned an octave lower than a violin in standard configuration. It is played like a regular violin, as it usually has the same critical ergonomic dimensions as a standard violin. The most significant of these dimensions are a body that is about 14 inches long and a playable string length of about 13 inches.
We call larger instruments by other names.
Specifically . . .
Viola:
Dr Jeff w/ large viola
A larger instrument, generally with a body length in the 15-inch to 16.5-inch range, and tuned a perfect 5th lower than a violin, thus, making it an alto range instrument. The viola’s playable string length ranges from approximately 13.5 inches to 15 inches.
Generally, a modern tenor viola is either a 15.5-inch or 16-inch viola that is set up with special larger diameter strings and is tuned exactly like an octave violin—that is, an octave lower than a violin.
The ancestor of the modern tenor viola, the Baroque tenor viola, was a much larger instrument (17.5-inch to 19-
Medici Tenor Viola (1690)
inch body!), usually with a disproportionately short neck. The best-known surviving Baroque tenor violin is the “Medici-Tuscan” tenor viola, made in 1690 by Antonio Stradivari. It has a body almost 19 inches long. There was a resurgence of interest in tenor violas in the 19th Century. These later tenor violas from the 19th Century are often fretted and intended to be played on the lap. It is my belief that the earlier Baroque tenor violas were, given their size, especially the 1690 Strad, also played on the lap or even da spalla (suspended from a strap draped on the player’s shoulders).
Octave Viola or Baritone Viola: A.K.A. "Chin Cello"
This is a modern development and is often called a “chin cello”. It is usually either a 16-inch or 16.5-inch viola that is set up with special larger diameter strings and is tuned exactly like a cello—that is, an octave lower than a viola in standard configuration. Often, but not always, such instruments have a wider body than a regular viola.
Octave-Tuned Viola Pomposa or 5-String Octave Viola:
Viola Pomposa by D. Rickert
A modern 5-String Octave Viola is usually either a 16-inch or 16.5-inch instrument that is often somewhat wider in girth than a regular viola. It is set up with special strings, allowing it to be tuned such that the four higher strings sound an octave lower than a violin (like a tenor viola) and the set of four lower strings sounds an octave than a viola (like an octave viola).
Viola Pomposa by J.C. Hoffman (1724)
The ancestor of this instrument is the Baroque Viola Pomposa. One of oldest surviving examples is attributed to Johann Christian Hoffmann (1683-1750) and was made in 1724 or thereabouts. The instrument is quite large, its body measuring about 18 inches in length. The ribs appear to be in the range of 60mm to 70mm. Many experts agree that the instrument was probably made with higher ribs (about 80mm) and later cut down for the sake of playability. The heinous insults that cutting-edge luthiers have had to endure!
Interestingly, the viola pomposa made by J.C. Hoffman was commissioned by J.S. Bach. It is also considered by some to be the among first violoncellos da spalla. It is now fairly well established that the violoncello da spalla was intended to be suspended by a leather strap (more or less like a contemporary guitarist) when played.
We Definitely Still Make Octave Violins and Fiddles
The practice of setting up standard violins with large diameter strings in order to play an octave lower appears to have been around for quite some time, possibly a century or more. There is anecdotal evidence that more than a few early 20th Century jazz violinists/fiddlers created their own octave violins in such a manner. There was even a large viola-sized octave-tuned German instrument in the early 20th Century called an “Octavgeige”, which is simply German for “Octave Violin.” The luthier who produced these instruments was Johan Reiter (Mittenwald, Bavaria). The great jazz violinist and Professor at Berklee College of Music, Christian Howes, owns one of these rare instruments. It is my opinion that Reiter’s Oktavgeige was really just a 20th Century variant of the tenor viola (aka tenor violin), described earlier.
Darol Anger
To the best of my knowledge, the first modern octave violin was a specially-strung electric violin used by Jean Luc Ponty on a 1975 recording. The instrument Ponty used was a Barcus-Berry Octave Violectra, introduced in the 1960s. The earliest known detailed description of the modern acoustic octave violin was a 1992 article in Strings Magazine by the famous Violist/Fiddler, Darol Anger. Darol Anger has been playing octave violin, which he refers to as the “baritone violin”, at least as far back as his earliest work with the Turtle Island Quartet in the 1980s. Darol was a significant supporter of us when we introduced our first “purpose-built” octave violins in 2006. I will get into what purpose-built means in this context forthwith.
Re-Purposed Standard Violins
As Darol Anger and others have shown, it is possible to simply replace the strings on your violin any of the available brands (Super-Sensitive, Thomastik-Infeld or Helicore) of octave strings and, voila, you have an octave violin. In reality, you will have to have at least some moderate luthiery work done, such as widening the nut and bridge grooves. Yes, this is only reversible by replacing the nut and bridge! Furthermore, unless your string height is quite high already (that would rule out most fiddlers I know, including myself), you will probably need a higher bridge. No matter what, the converted instrument is going to be rather weak (i.e. disappointing), the predictable result of stringing a regular violin to play a range well below that for which it was designed. There was a reason that the such great masters as Gasparo da Salò (1542 - 1609) and Antonio Stradivari made such a large octave-tuned instrument as the tenor viola (aka tenor violin).
I remember the first time I restrung a regular fiddle with octave strings. I was feeling confident after having read and studied Darol Anger’s seminal article,Another Voice: The Baritone Violin, Sept/Oct.1992, STRINGS Magazine (currently available online at http://www.standingstones.com/barifidd.html).
This is before I knew any better. The result was so discouraging that I put off for several years any further experimentation with octave violins.
In general, acoustic octave violins that are simply reconfigured regular violins are meek and non-sonorous instruments, which require some kind of amplification when played in an ensemble of instruments. For many designers of innovative musical instruments, development of an acoustic octave violin with good projection volume and powerful deep timbre has been a Holy Grail of sorts. Indeed, this quest once seemed a bit like overcoming the known laws of physics.
Purpose-Built Octave Violins: What We Have Become Known For
Instruments in this category are those that are built solely for the purpose of playing an octave lower than a regular violin.
D. Rickert Fat Strad Octave Violin
While we will do the occasional octave violin conversion on a suitable 14” viola, our main focus is, as it has always been, on octave violins that are designed from the ground up as octave violins. We call these instruments “purpose-built” octave violins. To be crystal clear, our octave violins are different instruments than regular violins. They have very special scientifically-derived bass bars, higher ribs and, in some case, different graduations than regular violins.
In the spirit of giving credit where credit is due, innovations in string technology are the “icing on the cake” that make our powerful and sonorous octave violins possible. There are currently three manufacturers of octave violin strings: Thomastik-Infeld, SuperSensitive and D’Addario. The strings from each of these manufacturers have their own distinct “character.” They all work well as the final ingredient for the magic necessary to produce a great violin-sized octave instrument.
Who Plays Acoustic Octave Violins and Fiddles?
In some cases, beginner fiddlers who cannot stand the high pitch of a violin or the large size of a full-size viola will start their musical journey on an octave violin; however, the most prevalent players are serious advanced amateur and professional musicians, many of whom are recording artists. Many of these advanced amateurs and professionals are, indeed, classically trained violinists.
Most makers of acoustic octave violins target their instruments to skilled “alternative” violinists and fiddlers looking for a new lower voice, allowing him or her to play low pitched musical parts almost as low as a ‘cello, without learning a completely new instrument, as the notes are in the same places on the fingerboard as a regular violin. The only new skill to learn is the proper use of a heavier viola bow. Some (a minority, I believe) octave violin players prefer a regular violin bow to a viola bow. These players are generally highly-skilled musicians who use the lighter violin bow to accommodate a unique playing style.
Classical string players—not so much. Unless the classical violinist, violist or cellist is also involved in playing folk, traditional, rock, jazz or other “alternative” musical genre, he or she is likely to have little exposure to, nor interest in, “non-orchestral” musical instruments. The octave violin, like, say, the accordion, mandolin, guitar or penny whistle, is not used in the modern orchestra and is, therefore, a non-orchestral instrument. Our experience has been that musicians who only play classical music tend to have little, if any, curiosity about musical instruments not used in a contemporary orchestra.
Octave Fiddles are the Ultimate Second Fiddles
A good second fiddler, of which there are far too few, will often mix chordal accompaniment with playing of the primary melody in unison with the primary melody an octave lower (especially when playing an octave fiddle) or a harmony melody. Different regional styles will emphasize different techniques for the second fiddler; for example, in certain regions of Ireland, simply playing the tune in various combinations of unison and an octave lower is favored. In other styles, the second fiddler plays primarily chords; which works particularly well with an octave fiddle. A viola or tenor viola (i.e. larger-bodied variant of an octave violin) is sometimes used as well for the same purpose.
I will conclude this post with a great demonstrating a regular fiddle and a viola, which seems to be in tenor (i.e. octave violin) tuning alternating the first and second fiddle roles. This one you have got to hear! The treble/soprano range (i.e. the fiddle) and alto/tenor range (i.e. the low-tuned viola) instruments just blend together in a magical way.
Attention!: We have more recent articles about Travel Violins. Better still - See the Travel and Backpacker Fiddle category at the Don Rickert Musician Shop.
Modern Travel and Backpacker Violins
D. Rickert Musical Instruments makes some of the world’s finest Modern Travel Violins (aka Backpacker Fiddles) and more models (6 models currently; one a 5-string). We also make two Pochette models; one a Baroque (early to mid-1700s) and one a Pre-Modern (1780s). All of these instruments are available at the Don Rickert Musician Shop.
Travel and Backpacker Violins and Fiddles by D. Rickert Musical Instruments
These are instruments that look superficially like Barqoue pochettes (pocket fiddles); however, they are full-length violins intended for backpacking and travel. All of our travel and backpacker violins are full 4/4 length instruments with chin rests and shoulder rest adapters. They are very popular among traveling classical violinists as well as adventure-loving fiddlers. Unlike the cheap travel fiddles that cost much less than ours on the market, ours respond to the bow like a full-size instrument and are quite sonorous...be sure to watch the videos below.
How Good Can a Travel Violin Sound?
Most makers of modern travel violins will tell you that they sound good. When we tell you that ours sound amazing, watch the following videos to hear for yourself what we mean by amazing…
We have been talking about a new travel violin to supersede the Neil Gow 22XL Travel Violin for several years. It is not that we do not like the Gow Travel Violin. We always felt that we could get a more full-bodied and balanced sound from an instrument of similar size (14” long x 3.25” wide, at the widest point). After many tries, involving countless prototypes, we achieved success. We call the new instrument the “Mountain Lion”.
At some point (soon!) we will have a video demo of the Mountain Lion Travel Violin. We can tell you that it sounds almost as good as the one played by Nathan Aldridge in the first video above (we do not see the possibility of ever making a travel violin that sounds better than the Custom Deep Body Travel Violin – Viola played by Nathan) and a little bit better than the one played by Troy Parker in the second video.
The instrument played by Troy Parker is an Adventurer II. We no longer make this instrument on a regular production basis, as it is too expensive to build, given its internal labyrinth of tuned porting that rivals the complexity of a Bose speaker enclosure (we still make them on a custom basis for those willing to pay the hefty price…about $3,000).
What we are now calling the Deep Body Custom Travel Violin/Viola has become one of the most popular instruments we have ever sold. It is definitely the best-sounding pochette-type travel violin we have ever produced. Interestingly enough, not a single customer has opted for a 4-string octave violin (aka baritone violin) configuration. Rather, to date, we have made the following configurations for customers:
4-string standard violin or viola tuning (base price applies to this configuration)
5-string violin/viola with standard 5-string violin neck (this is what most customers buy)
5-string violin/viola with custom extra-wide 5-string neck
6 sympathetic strings that run through a channel under the fingerboard and then through a special cut-out in the bridge (i.e. the sympathetic string bridge) and attached to metal hooks on the underside of the tailpiece (just like a Norwegian Hardanger Fiddle)
This last instrument is interesting, as it is used by a performer of Hindi Classical Music living in Australia. In Indian classical music, the violin or viola is played with the musician sitting in something like a lotus position. The instrument end rests on the upper chest (we made the buyer a special chest rest for that purpose). The finial (e.g. scroll), in the case of this instrument, a viola d’Amore blindfolded muse (Baroque symbol of True Love), is held by the player’s toes. Only a picture can really convey how this is done.
This is our most popular travel violin (it is also our most popular instrument regardless of type)
The Rickert Mountaineer IV Backpacker Fiddle is a really skinny (but full 4/4 length) travel fiddle that is extremely durable for the most punishing environments. This instrument and its predecessors have now been on journeys in the U.S., Europe, U.K., Canada, Middle East, North Africa and the African sub-continent.
The instrument is just 2 inches wide and is standard 4/4 length (body just under 14", playable string length of 13”, and total length about 23").
The Mountaineer utilizes an innovative internal bracing, which performs the critical functions of the sound post (damping shrill high frequency overtones while enhancing mid and low frequency overtones). The advantage is that the Mountaineer IV can withstand shock and extreme temperatures without the risk of the sound post falling out of place. The new Mountaineer IV, unlike its predecessors, uses a separate bass bar (not part of the internal framing).
The sound?
The instrument is quite loud (louder than a regular violin), and well balanced across all four strings. It is NOT shrill or “tinny”. Rather it tends to favor the mid-range. While having as much bass punch as a 2-inch wide instrument could possibly have, it is somewhat less than what we would call full-bodied.
Basically, it gets the job done sonically for those whose needs require such a small instrument. It does quite well in impromptu jam session due to its shear volume and mid-range bias.
The Frequent Flyer Travel Violin is designed for players who need a travel instrument that can be easily be packed inside of a suitcase or carry-on bag.
It is based on the Mountaineer IV (see product description for the Mountaineer IV above), but has very special structural enhancements, which allow for the easy removal and reattachment of the neck. The entire instrument, together with its accessories and a take-apart bow, fits into two small boxes, which, themselves easily fit into one’s luggage. The photos illustrate how it works.
Like the Mountaineer IV, the Phantom Shoulder Rest is an available option.
The sound is almost as good as the Mountaineer IV. The Mountaineer IV is a bit more sonorous due to the latter’s permanently set neck, using a traditional modern violin mortised neck joint.
The Neil Gow 21C, the predecessor of the Neil Gow XL Travel Violin, while actually quite modern under the surface, is based on our extremely popular Neil Gow Pochette, an interpretation of an 18th Century pochette (pocket fiddle or kit) on display in the Burrell Museum in Glasgow, Scotland. The bodies of the Neil Gow Pochette and its modern descendant, the Neil Gow 21C by Don Rickert Musical Instruments, while longer than the historic original on which their design is based, and have a full 4/4 size playable string length (nut to bridge), of 13 inches. This is one inch shorter than a 4/4 conventional violin. Most players do not notice this small difference in body length. For other musicians, especially novice and intermediate players, that one inch difference is important. For this reason, and to add a few more cubic inches of internal air space, the Neil Gow XL Travel Violin body is a full 14 inches long, which is the same a regular violin or fiddle.
