ATTENTION!: The Adventurous Muse Store is now closed! The new online store for D. Rickert Musical Instruments is the Don Rickert Musician Shop (www.DonRickertMusicianShop.com). Many of the articles you read prior to late February 2015 will have links to the now defunct Adventurous Muse Store. VISIT THE NEW STORE (Link at the top of the page) instead. Apologies for any inconvenience.
It is time to unite another new Violoncello da Spalla by Don Rickert with its new owner.
We have a new Violoncello da Spalla standard model underway.
I have a Violoncello da Spalla (Standard Model) in progress that is more than one-half completed. The Standard Model is less expensive than the Standard Plus Model. You will want to visit the Don Rickert Musician Shop [link] to see the differences between the two models. Both are professional level instruments.
See the in-progress Violoncello da Spalla in its current state in the adjacent photo of yours truly (i.e., Don Rickert).
Learn more about Violoncellos da Spalla, including the ones we make here in our Hiawassee, Georgia (USA) workshop.
If you are reading this, you probably already know a bit about what a Violoncello da Spalla is, the history of its development in the 17th and 18th Centuries, and its rediscovery in the early 21st Century.
If you do wish to learn or simply refresh your memory on this unique and versatile instrument, visit the following links:
Learn more about other really cool tenor and baritone range violin family instruments
If you visit the Don Rickert Musician Shop website [www.DonRickertMusicianShop.com], you can also learn about other tenor range violin family instruments, such as our octave violins and tenor-tuned (octave lower than a violin) violas. Tenor-tuned violas are also sometimes called octave mezzo violins. Violoncellos da spalla, octave violins and tenor violas are all sought by violinists, fiddlers and violists seeking to explore the cello range on much smaller instruments. Our 5-string mezzo violins will be interesting as well to players wanting to explore the lower frequency ranges.
I am looking forward to hearing from you.
If you are interested in finding out more about this instrument in progress, I am keen to discuss. I will be starting yet another very soon as well. That one can be either a Standard or a Standard Plus model.
Because it is more than half-finished, this lovely instrument can be in your hands before Summer (yes, 2023 đ).
Also, if you know anything about the custom lutherie business, you will appreciate the desire to keep the schedule of instrument builds as full as possible. In other words, I am motivated to work with prospective customers on price, for the instrument as well as a custom case.
In upcoming episodes, you will be able to see and hear at two instruments just like the violocello da spalla in progress being played and discussed by some incredible players.
Our new podcast, âCool Instruments for Hep Catsâ, went live with Episode 1 on March 28th 2023, will have several episodes on the Violoncello da Spalla and other 5 course cellos. Interviews with musician, luthier and violoncello da spalla expert Daniela Gaidano, as well as renowned violoncello da spalla players, Andrew Gonzalez and William Hurd have already been recorded. The first of these episodes about the Violoncello da Spalla will air either late April 2023 or early May.
We announced this very cool instrument in 2018. Since then we have made almost two dozen Violoncellos da Spalla for customers all over the world.
Our instruments are played by some of today's preeminent Violoncello da Spalla players, as well as many advanced amateur players alike. Well-known Suzuki Teacher and professional violist/violoncello da spalla performer, William Hurd is pictured here with his Rickert-made violoncello da spalla over his shoulder. Note: "da spalla" does mean literally "for the shoulder" in English, but the photo does NOT depict the actually playing position! We will get to that.
Please contact us if you wish to discuss purchasing one of these fine instruments.
Prior to 2018, we received a number of inquiries about the violoncello da spalla, based largely on our reputation for making extraordinary octave violins, mezzo violins and professional-level travel violins, which are modern versions of the dancing master's pochettes (portable pocket fiddles) of the Baroque Period. In 2018, I decided that the time was right for the violoncello da spalla as a standard product offering. Ours is a meticulously-designed and built 18â (refers to body length) violoncello da spalla in proper Baroque configuration. Our Violoncellos da Spalla are deliberately designed to to accommodate gut strings tuned to lower Baroque period pitch as well as more trouble-free and sonorous modern metal, silk or synthetic core (i.e. âPerlonâ) strings, tuned to modern or period pitch. The point here is that our instruments are made to withstand the higher tension of modern strings while still performing exceptionally well with historic gut strings. Consultation on stringing and performing appropriate setup for the type of strings chosen is included in the price.
The violoncello da spalla (Italian for â'cello for the shoulderâ) was, until fairly recently, a 5-string instrument of the violin family from the Baroque period that had fallen quite deeply into obscurity. It is a small baritone range instrument, about the size of a modern 1/10 size (child's) cello, that is tuned to C, G, d, a, eâ (i.e. like a full-size cello with an additional string on the treble side that is tuned to eâ, which is an octave lower than the eâ string on a violin)
It is thought by some 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. It was NOT called "violoncello da spalla" back in the day. That is primarily a modern moniker. Bachâs purported close relationship with J.C. Hoffmann has led to a now popular theory that J.S. Bach had a hand in the invention of the violoncello da spalla. This belief continues to be debated, often quite vigorously, 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 classified as either a "viola pomposa", "viola da spalla" or "piccolo cello", was made in 1732 by Hoffmann. It is this instrument that, today, is commonly regarded as the de facto âgold standardâ for a proper Violoncello da Spalla.
The modern resurrection of the violoncello da spalla, and widespread attribution of the instrumentâs invention to Hoffmann, is due largely to the Russian-Dutch luthier and media celebrity of sorts, 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, Dutch violinist 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 21st Century 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 Bachâs 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 Badiarovâs tireless ongoing research, teaching and and relentless evangelism. He also has made quite a few of these unique and very cool instruments for world-famous musicians and aspiring players alike.
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 photo of violist and preeminent violoncello da spalla player, Andrew Gonzalez.
The violoncello da spalla is easily (a relative term) played by experienced 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, because, unlike a full-size cello, the bow is held the in the same manner as for violin or viola. 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 largely lost art of basso continuo improvisation. 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 violoncellos da spalla are inspired by 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, eâ. 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 eâ (an octave lower than the eâ 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 image of Andrew Gonzalez above).
Approximate Critical Dimensions
Overall length: 30â (75cm)
Body length: 18â (45.5cm)
Upper bout width: 8.25â (21.5cm)
Lower bout width: 10.25â (26cm)
Ribs: 3.15â (8.0cm)
Playable String length: 16.53â (42cm)
Note about string length: The playable string length of this instrument requires a slightly disproportionately long neck length when compared to the âidealâ string and neck lengths of a modern 1/10 size cello or an 18â viola.
Varnish
A number of varnish options are possible. Traditional hand-rubbed oil or spirit. I prefer spirit varnish these days. Here are some examples for reference when discussing your preference.
Light Golden Brown
Golden Brown
Darker Golden Brown
Medium Brown Semi-Antique
Med-Dark Brown Semi-Antique
Reddish-Brown Semi-Antique
Setup: Baroque or modern
Nut and saddle: Ebony or Micarta
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, real ivory is absolutely banned worldwide!
Pegs: Wittner FineTune (default)
FineTune(tm) pegs by Witttner are internally-geared tuning pegs that look identical to traditional ebony pegs. The gear ratio is 8:1, thus making tailpiece mounted fine-tuners unnecessary. We modify the Wittner pegs as necessary for use with either modern or gut strings.
While we consider the Wittner FineTune pegs to be preferred option, traditional pegs, either modern or baroque style, are available for our Violoncello da Spalla Standard Plus Model.
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 below.
Plain Ebony
Black-Dyed Flamed Maple
Dark Brown Katalox w/Maple Border
Dark Brown Flamed Maple w/ Natural Maple Border
Medium Brown Flamed Maple w/ Natural 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).
Custom bridge for a Violoncello da Spalla
One type of 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. The the past year or so, I have been using a relatively unmodified treble viola da gamba bridge. I am very pleased with the sonic results and look really cool!
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.
You would think that strings for a 1/10 size cello, with a long viola string for the E, would work. Unfortunately, there are NO makers of premium strings in the 1/10 size. Premium cello strings in the 1/8 size tend to be a bit too long. Custom violoncello da spalla strings by Infeld-Thomastik are possible; however, they are almost impossible to get and are insanely expensive. Currently we are using with good results a custom set, made up of repurposed extra long viola strings, with a custom-made wound silk string for the C. We also offer a complete set of silk-core strings from Atelier Boussoir, which is owned by the French luthier and string maker, Eliakim Boussoir.
We will work with you to determine the best combination for your needs. String configuration is a matter for post-purchase discussion.
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, weâve 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 can supply Aquila gut strings for violoncello da spalla for an additional $100. We can also supply strings from the premier maker of historic reproduction gut strings, Gamut Music, Inc. (Dan Larsen). The additional cost for Gamut strings is considerable. A full set of period gut strings from Atelier Boussoir is a good and relatively affordable option as well.
Cases
The instrument comes with a padded soft case. We can supply a custom-made hard shell case. The current price for a wooden custom case is about $900. A custom fit ultra-light carbon fiber case runs about $1600.
We can also supply a custom-fit flight case (25 lbs. weight) for about $300.
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. Some players use a high-quality modern cello bow; however, that practice is becoming less popular. The least expensive good bows start at about $450, regardless of whether they are modern or baroque. Many players start out with a student-level Chinese-made baroque style bow, which costs about $200, and does a surprisingly good job.
Yeah, I know that I said that it would launch on March 17. What with some instrument completion deadlines and St. Patrick's Day stuff, it is going to be delayed by a few days. My bad! Stay tuned.
I am launching a new podcast and YouTube show, âCool Instruments for Hep Catsâ. It will be available, both as an audio podcast, as well as a video version on YouTube. Initially, the audio podcast will be available on Spotify, with the other usual channels to follow. Interviews with guests and recording has been going on since early February. The first episode is scheduled to air on Spotify and YouTube on March 17, 2023.
In âCool Instruments for Hep Catsâ, we delve into the fascinating realm of unusual and intriguing musical instruments. From the depths of history to the cutting edge of innovation, we'll explore the instruments that push the boundaries of what we consider music. Join us on a journey of discovery as we uncover the secrets of the world's most fascinating instruments, the people who make them, the people who play them, and the music they create.
The bar for music-related podcasts and shows is high; for example, Rick Beatoâs âEverything Musicâ YouTube channel, and the "Voices from the Vernacular Music Center Podcast", hosted by Dr. Chris Smith and Dr. Roger Landes of Texas Tech University. As far as I know, "Cool Instruments for Hep Cats" is the only podcast focused exclusively on unusual musical instruments, the people who play them and the people who make them. If there are others, we are honored to be part of the same club.
I have received an incredible response from some very Hep Cats, who have generously agreed to be guests on the show. Some of those who have committed are:
Daniela Gaidano of Visintini Gaidano Violoncello da Spalla Makers (luthier, writer, historian and player: violoncello da spalla)
Mark Wickersham (player: violoncello da spalla and tenor-tuned viola - folk and trad. styles)
Gerald Trimble (player: viola da gamba, violoncello da spalla and cittern)
Natalie Haas of Alasdair Fraser and Natalie Haas (player: folk-style cello, particularly contemporary interpretation of Scottish Traditional music)
Mikael Marin of Vasen (player: violoncello da spalla folk and trad. styles)
Roger Landes, Texas Tech University (historian, musicologist and player: cittern, Irish bouzouki, octave mandolin and bagpipes)
Andrew Gonzalez (player: violoncello da spalla, viola)
Will Hurd (player: violoncello da spalla, viola)
George Kelischek (Geigenbaumeister and historical woodwinds maker: hurdy-gurdy, crumhorn and other capped reeds, vielle, viola dâamore).
Some of the cool instruments that we will be talking about:
Tenor and baritone range instruments either in the mandolin family or similar (double string courses, played with a pick, etc.)
This will be the focus of the first episode, with special guest, Dr. Roger Landes
Bouzouki Greek and âIrishâ variants)
Cittern (historic and modern)
Octave mandolin
Mandocello
Dulcimer (standard mountain lap and bowed)
Nyckelharpa (traditional Swedish âkeyed fiddleâ
Capped double reeds
Rauschpfeiffen
Crumhorns
Kelhorn
Violoncello da spalla (in Baroque music)
Violoncello da spalla (in Traditional folk music)
Alternative full-size cellos (e.g., 5-string cellos)
Viola da gamba
Sultana (aka cither viol)
Cello-viol hybrids
Full-size 4-string cello as a folk instrument
Tin whistles and other flageolets
Recorder
Hurdy-gurdy
Bagpipes and related
Great Highland pipes
Uillean pipes
Shuttle pipes
Parlor pipes
English bagpipes
Smallpipes
Lower-pitched violins and violins with 5 or more strings
Modern octave violin
Octavgeige
Modern tenor viola
Octave viola (aka âchin celloâ)
Mezzo violin
5-string violin
6-string violin (aka âFadolinâ)
7-string mezzo violin
Banjos
Gourd
Tackhead
Minstrel
Old-time 5-string
Bluegrass 5-string
Tenor
Banjo-uke (banjolele)
Banjo-mandolin (banjolin)
Cigar box instruments
Cigar box fiddles
Cigar box Guitars
Cigar box Mandolins
Cigar box Ukes
Pochettes, kit fiddles and modern travel violins
Jaw harp
Asian
European
Hand percussion
Djembe
Talking drum
Cajon
Spoons
Experimental and super-weird instruments
The list merely scratches the surface. Since some of the topics will require multiple episodes, we are good topic-wise for at least a year of bi-weekly podcasts.
Value proposition
Guaranteed
Learn something new and interesting or your money back, guaranteed!
The podcast and YouTube episodes are actually free.
Hear really intriguing musical instruments being played by skilled players.
Get to see what we look like (sorry, only on the YouTube video version)
Get to hear how world-class musicians and makers sound when they talk.
They sound surprisingly like other humans
Not Guaranteed but Likely
Hear musical instruments that you have never heard before, and possibly never even heard of.
Possibly
Settle arguments and bets with colleagues and friends.
Probably Not, but Maybe
Get rich.
You can be sure that you will be hearing much more about this, including where you can listen, watch and/or download episodes, in the coming weeks.
I (Don Rickert) am in the March/April issue of Strings Magazine!
I am honored to have been one of several experts interviewed for the article, A Pocket Full of Sound, by Karen Peterson in the March/April 2023 issue of Strings Magazine (No. 311, March/April 2023). I wish I could share the entire article here, but I am pretty sure that that would be a copyright violation. That being said, I feel pretty good about how my comments about the 18th Century pochette were incorporated into the article. Hats off to the author Karen Peterson for an excellent piece.
Unless you are a Strings Magazine subscriber, or chose to spend $10 to download the March/April 2023 issue, you wonât be able to see it, at least now here. I can, however, summarize the key points:
The pochette was a tiny violin-like bowed instrument that was usually tuned to a higher pitch than a regular violin.
Note: Many pochettes, especially later ones, while still having a very small body, had disproportionately long necks, which made possible the same vibrating string length of a full-size violin, and thus, enabling them to be tuned to regular violin pitch. The tuning pitch of the Baroque period was a bit lower than modern pitch.
The pochette dates back to the 1500s, when, in its primitive form, was often played by street musicians.
During the reign of Louis XIV (the Sun King) beginning in the late 17th Century, the pochette came into its own among the aristocratic elite, or at least their support staff who taught them how to dance.
Dancing was an important skill for European aristocrats who wanted to fit in.
Baroque period pochettes incorporated all sorts of precious materials, such as ivory, tortoise shell, ebony and inlaid with precious stones, silver and/or gold.
While pochettes looked fancy, they mostly sounded awful. This was due in part to their diminutive size, but more owing to the fact that they did not have two essential elements for achieving decent sound from a bowed instrument, a soundpost and bass bar.
See the video for an example of how typical early pochettes sound.
Great musicians - ludicrously small instruments!
A later model - marginally acceptable sound (the instrument, that is - playing is great!)
Note 1: I have never been able to find a satisfactory answer to why most pochettes were made without bass bars or soundposts. Their key function to sound production was widely known since at least the 16th Century.
Note 2: Some later pochettes did, in fact, have something like a soundpost and/or a bass bar. Replicas of some of these late 18th Century pochettes actually sounded pretty good. At one time, I built quite a few replicas of a model made in Glasgow and, indeed, they sound amazing for such small instruments.
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
Despite their generally horrible sound, pochettes were deemed âgood enoughâ for sawing out a melody suitable for dance instruction.
As the 18th Century progressed, knowing how to dance became very important to the emerging Scottish upper middle class hoping to enter high society, or at least to impress oneâs peers.
Due to their portability, the pochette became a key tool for one of the hottest gigs of early and mid-18th Century France and England, teaching dance steps to aristocrats in their homes.
Dance teachers, or as they came to be known, âDance Masters,â were the eraâs equivalent of a personal trainer. As many, probably most, dance masters were French, the elaborately styled French overcoat was commonly worn, any many had a special pocket for carrying a small fiddle. Such a pocket, in French, was called a âpochetteâ, or âlittle pocketâ. The instrument, at some point, acquired the same name.
Note: The above begs the question, what were pochettes called prior to the era of the dancing master in the 18th Century?
The article goes on to discuss the problem of lugging around a full-size violin from home to home as a dance master made his rounds to his clients. Even if a dance master could afford one, a violin case of the Baroque period was not intended for mobility. Period cases were heavy and often did not have handles. The cases of the period were designed for displaying instruments in a fancy music parlor.
The article finishes with a fairly lengthy exposition of 18th Century Scottish musicians (not dance masters, but, rather, professional musicians) who were known to have played pochettes.
The most famous of these professional players was also the most famous violinist in Scotland, Niel Gow, who was instrumental in creating what we now call Scottish Traditional country dance music.
Gow was among a group of fiddlers associated with a bowing technique known as the âScotch Snapâ, which is either a long note followed by a short note, or a short note followed by a long one. The Scotch Snap led to the creation of the distinctly Scottish tune type known as the Strathspey. The article recounts a popular story that I recalled about how the short pochette bow that Gow would have used while walking to gigs with his pochette contributed to invention of the Scotch snap, as the bow often proved too short, thus requiring a sudden change in bow direction.
Note: While the above story is fun, it is just that, a story. The story I recounted was lore rather than established fact. Further, while Gow was indeed among the earliest composers of strathspeys, whether or not he actually invented the musical form or the Scotch snap bowing technique has never been proven. Other contemporaries of Gow, notably William Marshal, also composed many strathspeys, many of them regarded as the greatest strathspeys ever composed.
The article finishes with an interesting, albeit tenuous, link between the âScotch snapâ and contemporary hip-hop.
Originally known in Korea, not as a K-pop artist, but as a controversial and satirical hip-hop artist, Psy (slang for âpsychoâ â real name, Park Jae-sang) achieved international fame in 2012 with the music video to his humorous pop song âGangnam Styleâ.
Psy is considered to be the first K-pop artist to make a breakthrough in the Western music industry. He now runs a record company and management agency for up-and-coming K-pop artists. His office is located in the Gangnam neighborhood of Seul, where it all started.
If you are unfamiliar with Psy, "Gangnam Style", or even K-pop, you might need to come out of your cave for some air.
Anyway, congratulations Psy for producing the first video EVER to have more than one billion views on YouTube!
We just launched our new podcast, Offbeat Songs for Cool Cats, just in time for Christmas 2022. Below are links to play Episode 1, Parts 1 and 2 via Spotify. We aim to post an episode every 2 weeks. The next is scheduled for on or about January 5, 2023. I'll be telling you more about this podcast in the coming days.
We will also be launching yet another Podcast show in the near future. For now its name is Badass Instruments for Cool Cats. There will be a corresponding video version on YouTube.
You might find it strange that I am asking this question. After all, I am a luthier who makes violoncellos da spalla. Should I not just be happy when someone wants me to make one for them?
Before you read this, you need to know the following:
I am not playing âdevilâs advocateâ here. I am quite serious in asking the question.
I am not a violoncello da spalla âhaterâ or even a violoncello da spalla skeptic.
I do not care whether or not J.S. Bach actually had a hand in the invention of the violoncello da spalla or whether the instrument was actually a thing in the 18th Century. I do think that is cool, however, that Bach might have been involved.
Likewise, I do not care whether the violoncello da spalla is a â21st Century aberrationâ. Whether it is or not is simply irrelevant, although I think that it is rather rude to call it such.
Regardless of its actual use in the 1700s, the violoncello da spalla has a real place in the contemporary performance of Baroque Period repertoire.
I build instruments for a living and one of my favorite instruments to make is the violoncello da spalla.
My violoncellos da spalla are played by some of the preeminent players of the instrument.
Just remember what I just said as you read what follows. I am a violoncello da spalla devotee!
My Discovery of the Violoncello da Spalla
Thanks to Dmitry Badiarovâs enthusiastic evangelism, I discovered the violoncello da spalla about 10 years ago. I was absolutely smitten and certain that I needed one.
Having played fiddle for about 50 years at that point, I did what I know that so many others have done. I got the best fractional 4-string cello I could find and utilized my luthier skills to make it sort of playable. Finding a suitably-sized fractional cello is easier said than done, as 1/10 size cellos, which are the closest in size to a proper violoncello da spalla, are virtually non-existent. Anyway, trying to use a kidâs cello as an adult violoncello da spalla was not at all satisfactory so, being an experienced luthier, I set about making my own violoncellos da spallaâproper 5-string violoncellos da spalla without a child-sized end pin and not made out of plywood. After a few tries I got really good at making them. I have since made more than 20, including those played by some of the instrumentâs preeminent players.
Do I like playing my own instruments?
I do indeed love the sound and playability of my violoncellos da spalla. I always derived great satisfaction in making great instruments that players love, and are worth every penny that they cost. Do I like actually playing my own violoncellos da spalla? Not really. What can I say. I can play well enough to determine whether or not an instrument is ready for a discerning owner, but I just like playing a violin or viola much better. When I want to play an instrument in the tenor and baritone range, an octave violin is my preference. I make those as well, and have done so for almost two decades. In the spirit of full disclosure, I have made many more octave violins than violoncellos da spalla, mostly because I have been at it for longer.
Is my experience related to the fact thatâ
I am more a fiddler than a classical violinist
I am old
I have gotten lazy (related to being old, I am sure)
I never became as immersed in the Baroque repertoire as maybe I could have been.
I did, however, spend several years as a teenager transposing Bach cello pieces for electric bass guitar, as I learned that Jack Bruce of the Cream (one of Eric Claptonâs early bands) used many Bach riffs in his incredible playing.
I have arthritis in my left hand and the violoncello da spalla is a bit of stretch size-wise for me. I half suspect that my arthritis may be due in part to playing too much Bach on a Fender Precision Bass slung low (very non-ergonomic) when I was young.
And so onâŚ
All of those things I mentioned above are true, and that relates to my point. The violoncello da spalla, the enthusiasm of others notwithstanding, is NOT for everybody. That being said, I have seen players giving professional performances within a month of picking up the violoncello da spalla for the first time. What do these players have in common? They have all been VIOLists who had already reached virtuoso level skill on VIOLA. They are used to larger instruments and have mastered the skill of slower and harder bowing required for the viola.
I have also seen other accomplished musicians struggle for months, but who eventually conquer the violoncello da spalla after maybe 6 months of concerted effort. From my direct experience, this group has one thing in common. They are generally highly-proficient classical violinists and/or fiddlers (e.g., Bluegrass, Scottish, Irish). I have videos of some of these folks playing everything from video game music scores to 18th Century Scottish airs and laments on my website (www.RickertMusicalInstruments.com).
While I have heard about cellists transitioning to violoncello da spalla, I have not seen firsthand a single musician whose main instrument is cello master the violoncello da spalla without extreme effort. After all, for a cellist, bowing a violin, viola, and yes, violoncello da spalla is backwards! In fact, one of the worldâs finest cellist/recording artist/music school professors, who is also a longstanding client, gave a hard pass on even trying the violoncello da spalla because of its playing position.
The group that experiences the hardest time with the violoncello da spalla is comprised of people who are beginners with violin or, occasionally, with viola. The violoncello da spalla is a lot of instrument to handle. If one is still learning how to handle a violin, the road ahead is always going to be a long one. It is a lot like my recent attempt to learn the accordion, after a lifetime of avoiding keyboard instruments. It did not go well.
Avoiding disappointment is an important goal.
While I derive great joy in making extraordinary violoncellos da spalla for those who are truly ready, I do not get any satisfaction in charging money to clients who will be ultimately disappointed.
One who has the disposable income can always get a luthier-built violoncello da spalla and sell it should they lose interest. That is true, but be aware that the current resale market for unusual instruments like the violoncello da spalla is not good. This is the case for new instruments as well. The post Covid-19 lockdown economy is a challenge for all of us in the high-end bespoke musical instrument business.
Why Octave Violin may be a better choice than Violoncello da Spalla for many players
Tuned exactly like a violin, only an octave lower
The octave violinâs four strings are tuned exactly like the first four strings of a violoncello da spalla. It lacks only the low C-string of the violoncello da spalla.
The C-string is important if you are playing Baroque or Classical pieces. For the fiddler in most traditional folk genres, as well as modern genres like Bluegrass and Country Swing, the C-string is often more or less irrelevant. Even fiddlers who play 5-string violins donât always tune the low string to C anyway. The low string is often used simply as an extra drone string.
Note:
As a luthier, I have come to accept the paradox that the only reason a bowed instrument needs to be much larger than a regular violin is to optimize the playing of notes lower than G2 (i.e., G in the second octave below middle-C). The four strings of an octave violin (G2 to E4) do just fine with a body more the size of a regular violin. That is the paradox. Adding a low C-string crosses some threshold which, if crossed, requires a significantly larger instrument in order to achieve anything like a balanced response across all of the strings.
Those luthiers who build violoncellos da spalla know that achieving a balanced response between the C-string and the other 4 strings can be a challenge even with an instrument of its relative size.
Easier to learn and play
In my firsthand experience, whatever skill level that a musician has achieved on the violin (or fiddle) is pretty much immediately transferable to the octave violin. It is an easier transition than even to a 5-string violin, as the strings are usually closer together on that instrument. This goes for classical violinists as well as fiddlers in any of the traditional music genres. With only some admonishment to dig deeper and slightly slower with the bow, most can do a plausible job on the octave violin in an hour or less. In fact, because the octave violin is more forgiving than the conventional violin or fiddle, oneâs playing often sounds better on the octave violin.
A well-made purpose-built octave violin is just as loud as a violoncello da spalla
A regular violin simply fitted with octave strings usually does not have really great projection; in other words, it is somewhat quiet. With a purpose-built octave violin fitted with modern octave strings, the sound is every bit as loud as a really good violincello da spalla. Purpose-built octave violins are usually somewhat larger-bodied than regular violins, which is often accomplished with higher ribs. There are differences on the inside also, such as graduation, bass bar and sound post position.
The octave violin has its own unique timbre.
Just as the timbre of a violoncello da spalla is different from a 4/4 cello, so is the tone of an octave violin different from either.
Less expensive
Purpose-built octave violins are considerably less expensive than violoncellos da spalla. In the case of the instruments that I make, an octave violin costs about ½ as much as a violoncello da spalla.
Want to hear what an Octave Violin sounds like?
The video below is a compilation of older videos of some of my early octave violins. I have included this old video because nobody does justice to the octave violin like Darci Jones, who plays in most of the clips. I plan to do a video of my most recent octave violin designs, and will post it when it is done.
In summary: For whom is a violoncello da spalla the right choice?
The answer to this question is actually simple:
Accomplished violists
Those who are interested in professional performance of Baroque Period repertoire, especially the works of Bach
Those who can justify (and afford) the $10K to $30K cost of a good violoncello da spalla
There are, of course, others who do not fit into those categories. Anyone who is passionate about taking up the violoncello da spalla, and has the means, should by all means do so.
In closing, here are some additional questions you should consider.
Have you ever played a viola?
Are you a beginner or an experienced violinist or violist?
Can you afford a good violoncello da spalla?
Do you need to answer to someone else, such as a partner or spouse, about how you spend your money?
We have introduced a new violin design, which we are calling the âQuasi-Mezzo Violinâ, at least until we decide to call it something else.
Taken literally, âQuasi-Mezzo Violinâ would indeed refer to âalmost half of a violinâ in Italian. That would be pretty funny. In reality, the colloquial meaning of âmezzoâ (literally âmiddleâ) in the realm of musical instruments is more like âbetween one thing and the otherâ. A âMezzo Violinâ is called such because it is between a violin and a viola, at least size-wise. A Mezzo Violin has the body similar to a small viola but is tuned exactly the same as a conventional violin; that is generally G3 D4 A4 E5. Similarly, a âmezzo sopranoâ refers to a woman whose vocal range is between (and overlaps) both the alto and soprano ranges. In other words, a soprano who can also sing lower notes in the alto range. How much of a range overlap depends on the individual singer.
Our Quasi-Mezzo Violin is a lot like a Mezzo Violin. Indeed, it is designed to accomplish similar goals; specifically, a deeper tone and really impressive projection. Both instruments are somewhat larger than a conventional violin; but the Mezzo Violin has a longer body and the Quasi-Mezzo Violin has deeper ribs. So, we use the prefix âquasiâ, which is Italian (and Latin) for ânearlyâ or âalmostâ. There you have itâQuasi-Mezzo Violin!
Should you want to learn more about this exciting new violin, see:
Many players of violins, especially fiddlers, spend much effort seeking instruments that, while tuned the same (for a fiddler, this is often something different than the standard G3 D4 A4 E5) but with a less shrill, indeed darker, timbre, with excellent sonority.
When configured as a 5-string violin, it solves the well-known problem of an acoustically week C-string. It also makes possible an octave violin that can hold its own when played alongside other instruments. In its basic 4-string configuration, it is the dark and sonorous instrument sought by many fiddlers.
Availability
I am able to discuss commissions right now. The base price is 1/2 to 1/3 the price of one of my Violoncellos da Spalla. I will soon be posting updates on a current build of a Quasi-Mezzo Violin configured as a purpose-built Octave Violin.
A 30-day trial is available to qualified potential buyers. This means that I will have satisfied myself that you are serious about acquiring the instrument and you simply need to confirm its excellence and that it meets your needs.
I am open to barter. This could take the form of a partial trade for an instrument that I am interested in or an exchange of videos of you playing the instrument, a really good discount. You don't see that kind of offer everyday!
If you are interested in learning more about our new Quasi-Mezzo Violin, available in 4-string, 5-string and Octave Violin configurations, please feel free to contact me:
Learn more about Violoncellos da Spalla, including the ones we make here in our Hiawassee, Georgia (USA) workshop.
