Box and Fiddle
Year 31 No 12 August 2008
Price £2.30
44 Page Magazine
12 month subscription £25.30 + p&p £8.80 (UK)
Editor – Karin Ingram, Hawick
B&F Treasurer – Charlie Todd, Thankerton
The main features in the above issue were as follows (this is not a comprehensive detail of all it contained. The Club reports, in particular, are too time-consuming at this stage to retype).
Editorial
Once again we’ve come to the end of another B&F season. It was agreed at the AGM that the cost of the magazine would increase to £2.50 for the coming 2008/9 season. Postage has increased substantially and so we have taken account of that accordingly. We hope that you all renew your subscriptions and maybe bring some new readers on board. The higher our readership, the more we can afford to put into the magazine.
We’re planning a little bit of a revamp for the B&F for the new season, but we’ll still need your articles and photographs, so please send them in as usual.
There have been a great many events happening over the summer months and we have reports on three of them in this issue – Tradstyle 2008, The Lairg Music Festival and the Angus Accordion & Fiddle Festival.
Please remember to send us your syllabus for the new season if you haven’t already done so.
Best wishes
Karin Ingram
Tradstyle 2008
by Heather McLean
This was the second year………
The Spirit of Competition
by Paul Anderson
It’s around 12 years or so since I last entered a fiddle competition; it was the annual Glenfiddich Scottish Fiddle Championship, which is held at Blair Castle. In 1995 I finally managed to win the coveted title, after a number of runner-up placings, but in 1996 I failed even to get into the top three.
Although it was quite a bitter disappointment at the time, I’m the first to acknowledge that my performance simply wasn’t good enough in 1996 and didn’t warrant a prize.
The question is; why was my performance in 1996 so poor when only a year before and with the same amount of practice was I deemed good enough to be crowned champion? The truth is that there is no single reason and that there is a combination of factors which come into play.
I first came across the fiddle when I was about five or six when I discovered an old French instrument under the bed at my grandparents’ farmhouse just outside the Aberdeenshire village of Tarland. Once discovered, I developed quite a passion for the fiddle and my granny regularly heard me upstairs sawing away like a lumberjack. How long this initial interest lasted I can’t say but I do remember that a little later it was the bagpipes which I’d set my heart on. However whether it was something which I’d seen on the TV or music I’d heard on the radio, by the age of nine I approached my granny and asked her if I could learn to play the fiddle. “If you learn to play the fiddle you can keep it,” was her response and, on having the fiddle set up properly, I started lessons aged nine at the Tarland Primary School with local tutor, Andy Linklater. (Incidentally, that fiddle which I found under the bed at my grandparents is the fiddle I play to this day. It was made by Collin Mezin in Paris in 1893.)
When I started learning to play the violin my main motivation was so that I could play Scottish music on it. I was quite a wee patriot when I was young, my favourite book being ‘Kidnapped’ by Robert Louis Stevenson, my favourite records were Johnny Cash and The Corries and the radio programmes of Robbie Shepherd were regular listening. So at the age of ten when my parents asked if I’d like to go along to the Banchory S&R Society to play Scottish fiddle music I readily agreed. However, this was a new world to me and initially quite a daunting one.
The Banchory S&R Society practice, now as then, is held every Thursday night in The Burnett Arms Hotel in Banchory with the junior fiddlers having their practice prior to the seniors. I can remember my first night quite vividly as I was nervous as hell and more than a little lost with the new music. However, I soon got into the swing of things and the Thursday night practice became the highlight of the week.
I consider myself lucky that at this impressionable age I had some excellent role models around me at The Society, with not only some great fiddlers in the old North-East style but also some talented younger players who were regularly taking prizes at the many competitions up and down the country. Some of these have gone on to become very well known musicians on the Scottish music scene like Judi Nicolson (nee Davidson), Angela MacEachern (nee Smith), Jane Davidson (nee Smith, the current conductor of the Banchory S&R Society) and Brian Cruickshank who, though better known as a bassist, is also an excellent fiddler. Some of the older players like Harry Nicol not only met James Scott Skinner but had also played with him (Harry was also a great friend of Hector McAndrew) so there were a great many positive influences on my traditional playing.
My first ever fiddle competition was the 12 and Under class at The Banchory Fiddle Festival, which is held in Banchory Town Hall in May each year. I think I turned up almost an hour before the competition began (which makes a change for me now!) but at all of my earliest competitions I was always there well before my class started. This may partly have been down to keenness on my own part but was as likely to have been my parents making sure I was there on time. My parents played a crucial role in my development as a fiddler, for without their time and support I possibly wouldn’t be playing today. They always made sure that the practicing was done and deserve a medal for carting me all over the country to competitions and concerts. The adjudicator that day was Peter Zanre from Elgin, who is still adjudicating today, and I came in joint third with Wendy Milne from Banchory. The winner was Alec Bain from Durris near Banchory, a pupil of Hector MacAndrew and future winner of the Junior Golden Fiddle Championship.
In June that year I got a fourth at The Elgin Festival, which at that time was one of the biggest fiddle festivals in the country, but it wasn’t until November that I won my first competition at The Angus S&R Society Scottish Fiddle Championship in Kirriemuir. It was a fairly large class and I was accompanied by Mary Milne from Banchory and the adjudicator was the notable Scots fiddler and publisher, Alastair Hardie. I don’t really remember anything about my playing that day, but it was one of the best feelings I’d even experienced as I’d never won anything before and really wasn’t outstanding at anything at school. In second place was Rory MacLeod of Inverness (who stopped competing a few years later) and in third place was Maureen Turnbull from Dundee, my nemesis at many a competition and the three times Glenfiddich Fiddle Champion.
I honestly feel that winning the first competition in 1980 had a huge impact on my future; I loved winning and, having found something I was good at, I practiced hard. I couldn’t say that I was ever that discouraged by getting beaten in competition, it just made me persevere all the more.
The various competitions round Scotland became the social high points of my year and my practice would go into fifth gear in the couple of weeks running up to an event. I can’t stress enough the importance of practice in the mastering of the instrument; unfortunately there are no shortcuts to becoming a good player and only years of hard work and dedication can turn the novice into a master.
I’ve heard several people in the past who have had an almost rabid dislike for competition, holding the view that it goes against the whole ethos of ‘folk music’. However, I strongly disagree with this opinion and maintain that there’s nothing which gives a fiddler greater reason to practice and try to perfect their regional style than competitions. And after all, fiddle competitions have a very long and distinguished history in Scotland with both James Scott Skinner and Niel Gow being notable champions. Gow famously won a competition in Perth in 1745, which was open to the whole of Scotland; the adjudicator, who was a blind man named John McCraw, stated that he, “could distinguish Niel’s bow amang a hunder players’.”
Many of the readers will remember The Golden Fiddle Awards, which were sponsored by The Daily Record, and which I would argue was the biggest Scottish fiddle competition there’s ever been. Although there are several prestigious competitions today, there’s simply nothing that comes close to The Golden Fiddle Award in its heyday, and it says a lot about how things have changed since the early 80s when you consider that the senior champion at that time could expect not just front page newspaper coverage but also TV and radio engagements and a marked upturn in bookings. Sadly The Golden Fiddle is no more, but it was a daunting prospect for any fiddler, with not only the heats and the final to contend with but a tense build-up during the grand concert which was usually held before a packed house in a venue like The Usher Hall in Edinburgh. I competed in The Golden Fiddle finals on three occasions, in Glasgow, Edinburgh and Dundee, and for me it was always a long road home; however, I was never downbeat for long. The day before the finals in Dundee in 1982 I went head first over the handle-bars of my bike during a school cycle trip; fracturing my nose and badly ripping up my knees and elbows. My parents weren’t best pleased but I attended the competition anyway and, despite looking like I’d gone through a mincing machine, I still thought I was in with as good a chance as anyone else.
I don’t tend to get that nervous when I’m performing (though there are the occasions on which I do) but laterally I did get bothered when I was competing, especially at Glenfiddich when the muscles would tense up, my chest get tight and a cold sweat would run down the back of my legs. This was something which seemed to get worse as I got older and I would guess that as a younger player who was trying to prove myself I had a hunger to win and a desire to make a name for yourself, while later in my competition career and as a regular competition winner you then become one of the people to beat.
This brings me to an important point; competition is as much a test of character as a test of ability and the competitor who can cope with the stress and pressure will always be in with a shout. There have been a number of times as an adjudicator where I’ve been surprised at the poor performance of ‘the favourite’ and I can certainly attest to the fact that at many a championship I came off stage thinking I’d played far better at home in the kitchen the previous night. The thing is, competition should not be the end in itself but should be the means to an end and should be considered as a great way to develop as a player and assist in making your reputation.
The year I won The Glenfiddich Fiddle championship at Blair Castle I had just become engaged the night before the competition – and to be perfectly honest my mind wasn’t really on the work at hand! However I was well practiced and, for the first time at Glenfiddich, carefree and relaxed; of course on this occasion I had also had just the right dose of Balvenie to bring me to the peak of condition (this is not to say that getting blind drunk is a good idea – it’s not!)
One year later and it was quite a different story, as I’d just gone through a fairly unpleasant break-up and, being at a low ebb, was completely unprepared for such an emotionally exhausting experience.
Looking back on these two Championships it seems very clear to me that being able to deal with the nerves and stress of competition is almost as important as being musically well prepared.
My days of competing are long gone now but I like to keep an eye on the competition scene to see who’s making a name for themselves and, of course, I also adjudicate the odd competition now and again; I’ve been one of the three judges at Glenfiddich on a couple of occasions now.
As someone who does adjudicate regularly I perhaps do have some basic advice for any budding fiddle competitors. Although being well turned out is never going to beat a masterful performance, I would say that being tidy and well turned out does create a good and memorable first impression; playing in competition is a little bit like serving an apprenticeship and making an effort for your audience is a habit worth cultivating.
Always pick repertoire which is well within your capabilities; a set of fairly straightforward, standard tunes played at a nice steady tempo and with good grasp of style and character will always for me beat a set of the most complicated, showy tunes played hell for leather. One of the worst decisions I made when competing was in deciding was to play Skinner’s classic hornpipe The Mathematician, as I went into The Glenfiddich only getting the tune right about 50% of the time in practice. I duly made an a*se of the tune and wished I’d played something I could cope with!
A point I mentioned earlier, and which ties in with my last comment, is that practice is essential and being well prepared will help you to cope with the inevitable nerves and stress.
Always wait for the adjudicator to give you a nod to begin playing, as I often find that I’m still writing up the previous competitor when the next one is ready to begin, and when you do start make sure you stand well to the front of the stage with the fiddle facing the judge; i.e. so that the sound is directed towards the judge.
It might seem a little obvious, but always make sure that you’re in tune before beginning; if you can’t tune your fiddle yourself, ask someone else, even the adjudicator.
If you are playing with an accompanist make sure that you get as much rehearsal with them as you possibly can; it will always make for a much tighter performance.
Make sure that when you put a set of tunes together that they are the type of tune requested and ‘Scottish’; on a number of occasions I’ve adjudicated competitors who have played pipe marches instead of strathspeys and Irish tunes instead of Scottish.
At the end of the day, competition is not the be all and end all and you should enjoy the music and take the opportunity to hear as many different players as possible; they all have something different to offer. If you can, try and track down recordings of some of the dreat players of the last century because in their playing you’ll hear the essence of our unique Scottish fiddle tradition and this can only have a positive influence on your own playing; players like Hector MacAndrew, Angus Cameron, Willie Hunter and Angus Grant are all good examples. Above all enjoy the music, it’s one of Scotland’s greatest national heirlooms and thankfully still a living tradition. And finally practice, practice, practice!
How to Choose a Violin
by Peter Zaret
One of the most common beliefs in choosing a violin is that the more you pay the better the tone. This is unfortunately not true. There are some people who get a fine sounding violin for a small amount of money and there are some who spend a lot of money for a poor sounding violin.
There are many criteria in evaluating a violin. Unfortunately tone is not typically not near the top. For the most part here is the list of characteristics of a violin that determine prices, in DECLINING order of importance:
The Maker
Country of Origin
Condition
Age
Physical Beauty
Tone
Investment Potential
Size and Arching
Others not necessarily in order are :
Responsiveness
Evenness
Arching (flat as opposed to high)
Wolf tones – or lack of them
Clarity of tone
Correct measurements – particularly for the 4/4 size
The Maker
Stradivari made some fine sounding violins, some mediocre sounding violins and some poor sounding violins. A violin is made of wood. Each piece of wood vibrates differently. The spruce top is the sounding board. Spruce is generally considered to be the best material for the sounding board of a string instrument. It is the sounding board for the piano, harpsichord, guitar, lute, etc. Each piece of spruce vibrates differently.
In addition to the spruce top, the back, sides, blocks, even the fingerboard vibrates. It is impossible to duplicate this combination of vibrating parts from one instrument to another. Therefore don’t let the name intimidate you when trying a violin. If it doesn’t sound well don’t feel guilty if you don’t hear the magical quality that is supposed to be in there.
Over and over I hear the complaint that, “I have this Vuillaume, Gafliano or Scarampella, etc. The only problem I have with it is that it doesn’t sound well.” I have seen any number of fine violinists trade in a fine sounding violin for a big name instrument that doesn’t sound as good. They think there is some sort of magical quality in the expensive violin that just needs some coaxing out, or a new bridge, soundpost, bass bar, etc.
Country of Origin
Most people think the Italian instruments are the best. The Italians have a few advantages here. The violin was invested in Italy and the earliest music for the violin comes from Italy. Also the Italians have rarely gone in for commercialism in violin making like France and Germany, for instance. Chances are if the violin is Italian it was made by one person or is the person had some reputation, by apprentices, assistants or students in a small enterprise supervised by the person whose name is on the violin. ‘Handmade’ is the catchword here as opposed to machines or many hands making the same violin.
Condition
With an older violin condition becomes very important. A violin with a lot of cracks and repairs may sound well when it is purchased, but changes in the weather, bumps, lack of humidity or too much humidity can cause structural or tonal problems. Cracks can open, form, the neck can drop, buzzes can occur and endless problems can result from many repairs. I never send a violin to Puerto Rico or Alaska that has any structural repairs because of the extremes in their climates.
Age
There is no question that all things being equal, an old violin will sound better than a new one. With age the wood hardens and becomes more resonant. If the violin has a soft varnish age will make the varnish harden also. However, a new violin is much more preferable to and old violin with many repairs. A good new violin will improve with age. (On the other hand a new violin with plates that are too thin will deteriotiate with age). All in all, the condition of an old violin must be weighed with the advantages of the structurally perfect condition of a new violin.
Physical Beauty
If I line up five or six violins for a customer to try, the first one he or she usually goes for is the best looking one. Quite often people will zero in on a violin if it is highly flamed or of it has a one piece back. The flaming has little to do with the tone. Even if I ask the person before he or she tries the instruments, “Does the appearance matter?” and they say, “All I want is a beautiful tome” they will gravitate to the best looking instrument. It is difficult to enjoy a meal which may taste great but looks horrible. There are many modern makers who take great pains to make violins look like an old Italian masterpiece. If there is a connection with the physical beauty and the tone, it has to do with how much time and money the maker has put into the instrument. However, the antiquing doesn’t make the violin sound better. The choice of wood for its beauty as opposed to its acoustical properties will be detrimental to the sound.
Tone
There are hundreds of adjectives that describe the tone of a violin: warm, lyrical, rich, clear, deep, smooth, brilliant, and on and on. The most important one though, is power. A good violin will be loud. Power is measurable in concrete terms. Over and over I ask these hypothetical questions: Why do you think an orchestra has 35 violins and 3 flutes? The answer is that the flute produces the power of 10 violins. Have you ever seen a violin drown out a piano? Have you ever seen in a violin concerto, the soloist drowning out the orchestra? Other tonal characteristics are of lesser importance such as evenness, responsiveness and physical comfort, etc. A violin can never be too loud. It is the only instrument in the orchestra (other than the viola) where the tone comes out of a hole three inches from the left ear and aimed directly at the ear. It sounds much louder to the player than to the audience. The flute blows the tone out, away from the player’s ear, as do the clarinet, trumpet, etc. If you have been playing on a violin with a sweet and warm quality under the ear, a violin with a strong tone will make you jump when you first try it. However within one hour you can get used to it and going back to a violin with a soft tone will leave you frustrated.
Investment Potential
A good Italian and / or French violin with papers from a reputable authenticator can be a good investment. In the past 50 years or so the prices of these instruments have increased dramatically. However, if you arte a player trying to make a career, a violin that has the type of tone that you want should outweigh the investment potential. For a collector or an amateur this might not be the case. I tell customers that after you play a recital and nobody can hear you, you can’t turn to the audience and say, “But the violin has great investment potential”!!!
Size and Arching
Correct measurements are very important. Sticking to standard measurements will help greatly, particularly for intonation if you play on more than one violin. (For instance you have one violin for solo work and another for teaching, playing outdoors, etc.) Most people don’t like high arching, as a violin with high arching will tend to have a nasal quality and not produce the power of a good violin with relatively flat arching.
Additional Considerations
It is very important to deal with a violin shop as opposed to a store that sells other musical items such as flutes, guitars, keyboards, etc. Bowed string instruments need people with specialized training and focus who can do proper set-ups, select the best strings for the individual instrument, and generally maximize a stringed instruments potential. An expensive instrument can sound and behave as badly as a student instrument if it is not properly set up. Since a violin shop is so specialized, most string players in a particular city will usually know about and recommend the best shops.
Frequently Asked Questions
Should a violin teacher help students pick a violin?
A teacher’s input can be very helpful in selecting a violin, particularly if the teacher is a good player. Sound can be very subjective and the student should have the benefit of a good ear for sound from the teacher.
It is important, however, to make sure the teacher can be objective in the selection. There are occasions where the teacher is getting a commission from the dealer or shop. Since the teacher is spending a lot of time in the decision process he or she should be compensated. However, if there is a choice for instance between a couple of violins, one from a shop where the teacher gets a commission and another from a shop that doesn’t give commissions, it is important that the best violin is recommended. This can be a very awkward situation.
What is the Price Range for an Intermediate or Advanced Instrument?
For a reasonably serious student to professional the range is likely to be between approximately £500 - £2,000. Depending on your situation it may be better to start from the other side of the equation; how much can you spend? Then, look for the best sounding instrument in good condition in that range. Violin making is a very inexact science. There are many fine expensive violins that don’t sound well and there are many inexpensive violins that do sound well. You need to pick up as many as you can and play them.
When should I rent instead of buy or vice versa?
It is a good idea to rent if the person playing is a beginner. This gives you the flexibility of getting rid of the violin if there isn’t progress. However, most rental instruments are of the most basic quality, which means they don’t have a great sound and may not be as ‘playable’ as a higher quality instrument. There is always a dilemma here. Ideally you should rent a violin long enough to evaluate whether there is a true interest in learning and playing the instrument. When an adequate level of seriousness is evidenced, invest in the best instrument you can afford at the next level. (The ‘next level’ is a very broad place.) A playable, good sounding instrument makes practicing much more pleasurable and will increase progress. Common sense is important here – the most gifted child might not yet be responsible enough yet to be trusted with a very expensive instrument. But a discerning student at any age will appreciate the differences between a cheap starter instrument and a better one. If the student is committed, the time to upgrade is at the point when the musician can tell the difference.
Many shops give you credit for a certain amount of money in the rental and will apply it to the purchase of either that instrument or a better one.
Should I buy from eBay?
This is a difficult question. Occasionally there are good buys on eBay but most of the time it is a bad idea. The main problem is that you can’y buy the violin before you buy it. The violin might be a bargain but unplayable. The violin might be ‘worth’ the money but have an inferior tone. Once again a high price doesn’t guarantee a good tone and vice versa. I have seen at least three instances where a violin purchased on eBay – supposedly from abroad with a high price and purportedly made by such-and-such a maker – turned out to be a fake for which the customer grossly overpaid. Buyer Beware!
Making stringed instruments is both an art and a science. Selecting one is similar. Some of your considerations should be logical; is the instrument in good repair? Will it hold or increase its value? Is it ‘playable’ for me? But you also have to use your emotions and artistic judgment; does this instrument delight me? Can I make it sing? Does it give me the chills? You’re going to spend a lot of time with this instrument, whatever you pay for it, so evaluate it on as many levels as you can.
Good Luck!
Lairg Music Festival
by
………
Angus Accordion & Fiddle Festival 2008
by Ron Ramsay
The best Festival yet, seems …………….
See Hear! with Bill Brown
CD Reviews
More Bits and Pieces – Tom Alexander MBE – Pegasus Entertainment – PEGCD646
30 Years On – Forres Accordion & Fiddle Club – DRCD3004
Farrar – Duncan Chisholm – CPFCD003
Just the Three of Us – Bill Black – SMR151CD (Bill, Mabel & Judi)
Take the Floor – Saturday Evenings 19.05 – 20.30 with Robbie Shepherd
REPEATS
2nd Aug 08 – Fergie MacDonald CB (OB from Lochinver)
9th Aug 08 – Tom Orr SDB (OB from Celtic Connections)
16th Aug 08 – Bill Black SDB (Callum Nicolson Trio)
22nd Aug 08 – Susan MacFadyen SDB (OB from Dumfries)
30th Aug 08 – James Coutts SDB (OB from Dunfermline)
CLUB DIARY
Aberdeen (Old Machar RBL) –
Alnwick (The Farrier’s Arms – Shilbottle)
Annan (St Andrew’s Social Club) - 17th Aug 08 – Jimmy McQuire SDB
Arbroath (Viewfield Hotel) - 3rd Aug 08 – Bon Accords
Armadale (Masonic Hall) –
Balloch (St. Kessog’s Church Hall) –
Banchory (Burnett Arms Hotel) – 25th Aug 08 – Graeme Mitchell SDB
Banff & District (Banff Springs Hotel) – 6th Aug 08 – John Stuart SDB 13th Aug – Johnny Duncan 20th Aug – Garioch Blend 27th Aug – Dick Black Band
Beith & District (Anderson Hotel) –
Biggar (Municipal Hall) –
Blairgowrie (Moorfield Hotel) - 12th Aug 08 – Craig Paton
Britannia (Arden House Hotel) -
Bromley (Trinity United Reform Church) -
Button Key (Windygates Institute) –
Campsie (Glazert Country House Hotel) -
Carlisle (St Margaret Mary Social Club) -
Castle Douglas (Urr Valley Country House Hotel) –
Coalburn (Miners’ Welfare) -
Crieff & District (Crieff Hotel)
Cults (Culter Sports & Social Club)
Dingwall (National Hotel) –
Dunblane (Victoria Hall) –
Dunfermline (Headwell Bowling Club) –
Dunoon & Cowal (McColl’s Hotel)
Duns (Royal British Legion Club, Langtongate)
Ellon (Station Hotel) – 19th Aug 08 – Alasdair Salter & Ian Thow
Fintry (Fintry Sports Centre) –
Forfar (The Royal Hotel) - 31st Aug 08 – Gordon Brown SDB
Forres (Victoria Hotel) –
Galashiels (Abbotsford Arms Hotel) –
Glendale (The Glendale Hall) -
Glenfarg (Lomond Hotel) - 6th Aug 08 – Club Night
Glenrothes (Victoria Hall, Coaltown of Balgownie) - 28th Aug 08 – Tom Orr Trio
Gretna (Athlitic & Social Club) -
Haddington (Railway Inn) -
Highland (Waterside Hotel) –
Inveraray (Argyll Hotel) -
Isle of Skye – (The Royal Hotel, Portree) -
Islesteps (The Embassy Hotel) –
Kelso (Cross Keys Hotel) –
Kintore (Torryburn Arms Hotel) –
Ladybank (Ladybank Tavern) - 21st Aug 08 - tbc
Lanark (Ravenstruther Hall) -
Langholm (Eskdale Hotel) –
Lewis & Harris (Stornoway Legion) - 2nd Aug 08 – Carnival Day with John Carmichael’s Band 7th Aug – Local Players
Livingston (Hilcroft Hotel, Whitburn)
Lockerbie (Queen’s Hotel) -
Mauchline (Harry Lyle Suite) -
Montrose (Park Hotel) –
Newburgh (The Ship Hotel) -
Newmill-on-Teviot / Teviotdale (Thorterdykes Roadhouse)
Newtongrange (Dean Tavern) –
North East (Royal British Legion, Keith) –
Oban (The Argyllshire Gathering) –
Orkney (Ayre Hotel, Kirkwall) –
Peebles (Rugby Social Club) –
Perth (Salutation Hotel) –
Premier NI (Chimney Corner Hotel) -
Reading Scottish Fiddlers (Willowbank Infant School, Woodley) -
Renfrew (Masonic Hall, Broadloan) –
Rothbury (Queen’s Head Hotel) -
Scottish Accordion Music (Banchory) - 10th Aug 08 – All Players Welcome
Selkirk (Angus O’Malley’s) -
Shetland (Shetland Hotel, Lerwick) -
Stonehouse (Stonehouse Violet Football Social Club) -
Sutherland (Rogart Hall) -
Thornhill (Bowling Club Hall) -
Thurso (Pentland Hotel) –
Turriff (Commercial Hotel, Cuminestown) – 7th Aug 08 – Steven Carcary
Tynedale (Hexham Ex Service Club) – 21st Aug 08 – Willie McFarlane Band
Uist & Benbecula (C of S Hall, Griminish) -
West Barnes (West Barnes Inn)
Wick (MacKay’s Hotel) –
THERE WERE CLUB REPORTS FROM :-
1. Alnwick
2. Armadale
3. Banchory
4. Banff
5. Blairgowrie
6. Button-key
7. Dunoon & Cowal
8. Forfar
9. Forres
10. Highland
11. Lanark
12. Lewis & Harris
13. Montrose
14. Orkney
15. Perth
16. Rothbury
17. Turriff
18. Tynedale
19. Wick
CLUB DIRECTORY AS AT OCT 2007
(Clubs didn’t necessarily notify the Assoc when they closed so the following may not be entirely correct. Only the clubs submitting the reports or in the Club Diary above were definitely open.)
1. Aberdeen A&F Club (1975 – present)
2. Alnwick A&F Club (Aug 1975 – present)
3. Annan A&F Club (joined Assoc in 1996 but started 1985 – present)
4. Arbroath A&F Club (1991? – present)
5. Armadale A&F Club (Oct 1978? or 80) originally called Bathgate Club (for 2 months) Closed early 08-09
6. Balloch A&F Club (Sept 1972 – per January 1978 issue – present)
7. Banchory A&F Club (1978 – present)
8. Banff & District A&F Club (Oct 1973 – present)
9. Beith & District A&F Club (Sept 1972 – per first edition – present)
10. Belford A&F Club (joined Sept 1982)
11. Biggar A&F Club (Oct 1974 – present)
12. Blairgowrie A&F Club (
13. Britannia B&F Club ( joined 07-08 but much older
14. Bromley A&F Club (joined 95-96 – closed early 08-09)
15. Button Key A&F Club (
16. Campsie A&F Club (Nov 95 – present)
17. Carlisle A&F Club (joined Sept 1993 -
18. Castle Douglas A&F Club (c Sept 1980 – present)
19. Coalburn A&F Club (
20. Crathes (aka Scottish Accordion Music – Crathes) (Nov 1997 -
21. Crieff A&F Club (cSept 1981)
22. Cults A & F Club (
23. Dalriada A&F Club (Feb 1981)
24. Dingwall & District A&F Club (May 1979 – per first report)
25. Dunblane & District A&F Club (1971 – present)
26. Dunfermline & District A&F Club (1974 – per first edition)
27. Dunoon & Cowal A&F Club (
28. Duns A&F Club (formed 20th Sept 04 – present)
29. East Kilbride A&F Club (Sept 1980 – Closed 04/05)
30. Ellon A&F Club (
31. Fintry A&F Club (Dec 1972 – reformed Jan 1980 – present)
32. Forfar A&F Club (
33. Forres A&F Club (Jan 1978)
34. Galashiels A&F Club (joined Sept 1982 - present)
35. Galston A&F Club (Oct 1969 – per first edition – closed March 2006)
36. Glendale Accordion Club (Jan 1973)
37. Glenfarg A&F Club (formed 1988 joined Assoc Mar 95 -
38. Glenrothes A&F Club (Mar 93?
39. Gretna A&F Club (1991) Known as North Cumbria A&F Club previously (originally called Gretna when started in June 1966 but later had to move to venues in the North of England and changed name. No breaks in the continuity of the Club)
40. Haddington A&F Club (formed Feb 2005 - )
41. Highland A&F Club (Inverness) (Nov 1973 – present)
42. Inveraray A&F Club (Feb 1991 - present)
43. Islesteps A&F Club (Jan 1981 – present – n.b. evolved from the original Dumfries Club)
44. Isle of Skye A&F Club (June 1983 – present)
45. Kelso A&F Club (May 1976 – present)
46. Kintore A&F Club (
47. Ladybank A&F Club (joined Apr 98 but formed earlier
48. Lanark A&F Club (joined Sept 96 – closed March 2015)
49. Langholm A&F Club (Oct 1967 - present)
50. Lewis & Harris A&F Club (Aug 1994 -
51. Livingston A&F Club (Sept 1973 – present)
52. Lockerbie A&F Club (Nov 1973 - present)
53. Maine Valley A&F Club (
54. Mauchline A&F Club (Sept 1983 - present)
55. Montrose A&F Club (joined Sept 1982 - present)
56. Newburgh A&F Club (joined 2002 but founded
57. Newmill-on-Teviot (Hawick) (Formed late 1988 joined Assoc 1999
58. Newtongrange A&F Club (joined Sept 1977 - present)
59. North East A&F Club aka Keith A&FC (Sept 1971 - present)
60. Oban A&F Club (Nov 1975 - present)
61. Orkney A&F Club (Mar 1978 - present)
62. Peebles A&F Club (26 Nov 1981 - present)
63. Perth & District A&F Club (Aug 1970 - present)
64. Premier A&F Club NI (April 1980)
65. Phoenix A&F Club, Ardrishaig (Dec 2004 -
66. Renfrew A&F Club (1984 -
67. Rothbury Accordion Club (7th Feb 1974) orig called Coquetdale
68. Selkirk A&F Club (
69. Shetland A&F Club (Sept 1978 - present)
70. Stonehouse A&F Club (first report June 05 -
71. Sutherland A&F Club (Nov 1982 -
72. Thornhill A&F Club (joined Oct 1983 – see Nov 83 edition – closed April 2014)
73. Thurso A&F Club (Oct 1981 - present)
74. Turriff A&F Club (March 1982 - present)
75. Tynedale A&F Club (Nov 1980 - present)
76. Uist & Benbecula A&F Club (Dec 2007 but formed 1994 -
77. West Barnes ( - present)
78. Wick A&F Club (Oct 1975 - present)
Not on official list at the start of the season (closed, did not renew membership or omitted in error?)
79. Acharacle & District A&F Club (cMay 1988)
80. Ayr A&F Club (Nov 1983 – per Nov 83 edition) Closed
81. Bonchester Accordion Club (Closed?)
82. Bridge of Allan (Walmer) A&F Club (Walmer Hotel, Bridge of Allan) (c March 1982)
83. Brigmill A&F Club (Oct 1990) Closed
84. Buchan A&F Club
85 Callander A&F Club (
86 Campbeltown & District A&F Club (c Dec 1980)
87 Cleland (cNov 1981 – March 1985) originally called Drumpellier A&F Club (for 2 months)
88 Club Accord
89 Coquetdale A&F Club (Feb 1974 or c1976/77 – 1981/2? – became Rothbury?)
90. Coupar Angus A&F Club (cSept 1978 - ?)
91. Cumnock A&F Club (October 1976 - forced to close cDec 1982 - see Jan 83 Editorial)
92. Denny & Dunipace A&F Club (Feb 1981)
93. Derwentside A&F Club
94. Dornoch A&F Club (first mention in directory 1986)
95. Dumfries Accordion Club (Oughtons) (April 1965 at the Hole in the Wa’)
96. Dunbar Cement Works A&F Club (Closed?)
97. Dundee & District A&F Club (1970? – 1995?)
98. Edinburgh A&F Club (Apr 1981) prev called Chrissie Leatham A&F Club (Oct 1980)
99. Falkirk A&F Club (Sept 1978 - )
100. Fort William A&F Club (21st Oct 1980 – per Dec 1980 B&F)
101. Gorebridge (cNov 1981) originally called Arniston A&F Club (for 2 months)
102. Greenhead Accordion Club (on the A69 between Brampton and Haltwistle)
103. Islay A&F Club (23 Apr 93 -
104. Kirriemuir A&F Club (cSept 1981)
105. Lesmahagow A&F Club (Nov 1979 – closed May 2005)
106. M.A.F.I.A. (1966 – 1993?)
107. Monklands A&F Club (Nov 1978 – closed cApril 1983)
108. Morecambe A&F Club (joined Sept 1982)
109. Muirhead A&F Club (Dec 1994 -
110. Mull A&F Club
111. Newcastleton Accordion Club
112. New Cumnock A&F Club (cMarch 1979)
113. Newton St Boswells Accordion Club (17th Oct 1972 see Apr 1984 obituary for Angus Park)
114. Ormiston Miners’ Welfare Society A&F Club (closed April 1992 – per Sept Editorial)
115. Reading Scottish Fiddlers (cMarch 1997
116. Renfrew A&F Club (original club 1974/5 lapsed after a few years then again in 1984)
117. Stirling A&F Club (Oct 1991 – closed 20000/01?)
118. Straiton Accordion Club (c1968 – closed March 1979)
119. Stranraer & District Accordion Club (1974 – per first edition)
120. Torthorwald A&F Club (near Dumfries)
121. Tranent A&F Club
122. Vancouver
123. Walmer (Bridge of Allan) A&F Club
124. Wellbank A&F Club
125. Yarrow (prev known as Etterick & Yarrow) (Jan 1989 – closed 2001/02)
Advertising rates
Back Page (colour) - £300
Full Page (colour) - £220
Full Page (b&w) - £140
Half Page (colour) - £110
Half Page (b&w) - £70
Quarter Page (colour) - £55
Quarter Page (b&w) - £35
Eighth Page - £18
Small Boxed £12
B&F Treasurer – Charlie Todd, Thankerton
The main features in the above issue were as follows (this is not a comprehensive detail of all it contained. The Club reports, in particular, are too time-consuming at this stage to retype).
Editorial
Once again we’ve come to the end of another B&F season. It was agreed at the AGM that the cost of the magazine would increase to £2.50 for the coming 2008/9 season. Postage has increased substantially and so we have taken account of that accordingly. We hope that you all renew your subscriptions and maybe bring some new readers on board. The higher our readership, the more we can afford to put into the magazine.
We’re planning a little bit of a revamp for the B&F for the new season, but we’ll still need your articles and photographs, so please send them in as usual.
There have been a great many events happening over the summer months and we have reports on three of them in this issue – Tradstyle 2008, The Lairg Music Festival and the Angus Accordion & Fiddle Festival.
Please remember to send us your syllabus for the new season if you haven’t already done so.
Best wishes
Karin Ingram
Tradstyle 2008
by Heather McLean
This was the second year………
The Spirit of Competition
by Paul Anderson
It’s around 12 years or so since I last entered a fiddle competition; it was the annual Glenfiddich Scottish Fiddle Championship, which is held at Blair Castle. In 1995 I finally managed to win the coveted title, after a number of runner-up placings, but in 1996 I failed even to get into the top three.
Although it was quite a bitter disappointment at the time, I’m the first to acknowledge that my performance simply wasn’t good enough in 1996 and didn’t warrant a prize.
The question is; why was my performance in 1996 so poor when only a year before and with the same amount of practice was I deemed good enough to be crowned champion? The truth is that there is no single reason and that there is a combination of factors which come into play.
I first came across the fiddle when I was about five or six when I discovered an old French instrument under the bed at my grandparents’ farmhouse just outside the Aberdeenshire village of Tarland. Once discovered, I developed quite a passion for the fiddle and my granny regularly heard me upstairs sawing away like a lumberjack. How long this initial interest lasted I can’t say but I do remember that a little later it was the bagpipes which I’d set my heart on. However whether it was something which I’d seen on the TV or music I’d heard on the radio, by the age of nine I approached my granny and asked her if I could learn to play the fiddle. “If you learn to play the fiddle you can keep it,” was her response and, on having the fiddle set up properly, I started lessons aged nine at the Tarland Primary School with local tutor, Andy Linklater. (Incidentally, that fiddle which I found under the bed at my grandparents is the fiddle I play to this day. It was made by Collin Mezin in Paris in 1893.)
When I started learning to play the violin my main motivation was so that I could play Scottish music on it. I was quite a wee patriot when I was young, my favourite book being ‘Kidnapped’ by Robert Louis Stevenson, my favourite records were Johnny Cash and The Corries and the radio programmes of Robbie Shepherd were regular listening. So at the age of ten when my parents asked if I’d like to go along to the Banchory S&R Society to play Scottish fiddle music I readily agreed. However, this was a new world to me and initially quite a daunting one.
The Banchory S&R Society practice, now as then, is held every Thursday night in The Burnett Arms Hotel in Banchory with the junior fiddlers having their practice prior to the seniors. I can remember my first night quite vividly as I was nervous as hell and more than a little lost with the new music. However, I soon got into the swing of things and the Thursday night practice became the highlight of the week.
I consider myself lucky that at this impressionable age I had some excellent role models around me at The Society, with not only some great fiddlers in the old North-East style but also some talented younger players who were regularly taking prizes at the many competitions up and down the country. Some of these have gone on to become very well known musicians on the Scottish music scene like Judi Nicolson (nee Davidson), Angela MacEachern (nee Smith), Jane Davidson (nee Smith, the current conductor of the Banchory S&R Society) and Brian Cruickshank who, though better known as a bassist, is also an excellent fiddler. Some of the older players like Harry Nicol not only met James Scott Skinner but had also played with him (Harry was also a great friend of Hector McAndrew) so there were a great many positive influences on my traditional playing.
My first ever fiddle competition was the 12 and Under class at The Banchory Fiddle Festival, which is held in Banchory Town Hall in May each year. I think I turned up almost an hour before the competition began (which makes a change for me now!) but at all of my earliest competitions I was always there well before my class started. This may partly have been down to keenness on my own part but was as likely to have been my parents making sure I was there on time. My parents played a crucial role in my development as a fiddler, for without their time and support I possibly wouldn’t be playing today. They always made sure that the practicing was done and deserve a medal for carting me all over the country to competitions and concerts. The adjudicator that day was Peter Zanre from Elgin, who is still adjudicating today, and I came in joint third with Wendy Milne from Banchory. The winner was Alec Bain from Durris near Banchory, a pupil of Hector MacAndrew and future winner of the Junior Golden Fiddle Championship.
In June that year I got a fourth at The Elgin Festival, which at that time was one of the biggest fiddle festivals in the country, but it wasn’t until November that I won my first competition at The Angus S&R Society Scottish Fiddle Championship in Kirriemuir. It was a fairly large class and I was accompanied by Mary Milne from Banchory and the adjudicator was the notable Scots fiddler and publisher, Alastair Hardie. I don’t really remember anything about my playing that day, but it was one of the best feelings I’d even experienced as I’d never won anything before and really wasn’t outstanding at anything at school. In second place was Rory MacLeod of Inverness (who stopped competing a few years later) and in third place was Maureen Turnbull from Dundee, my nemesis at many a competition and the three times Glenfiddich Fiddle Champion.
I honestly feel that winning the first competition in 1980 had a huge impact on my future; I loved winning and, having found something I was good at, I practiced hard. I couldn’t say that I was ever that discouraged by getting beaten in competition, it just made me persevere all the more.
The various competitions round Scotland became the social high points of my year and my practice would go into fifth gear in the couple of weeks running up to an event. I can’t stress enough the importance of practice in the mastering of the instrument; unfortunately there are no shortcuts to becoming a good player and only years of hard work and dedication can turn the novice into a master.
I’ve heard several people in the past who have had an almost rabid dislike for competition, holding the view that it goes against the whole ethos of ‘folk music’. However, I strongly disagree with this opinion and maintain that there’s nothing which gives a fiddler greater reason to practice and try to perfect their regional style than competitions. And after all, fiddle competitions have a very long and distinguished history in Scotland with both James Scott Skinner and Niel Gow being notable champions. Gow famously won a competition in Perth in 1745, which was open to the whole of Scotland; the adjudicator, who was a blind man named John McCraw, stated that he, “could distinguish Niel’s bow amang a hunder players’.”
Many of the readers will remember The Golden Fiddle Awards, which were sponsored by The Daily Record, and which I would argue was the biggest Scottish fiddle competition there’s ever been. Although there are several prestigious competitions today, there’s simply nothing that comes close to The Golden Fiddle Award in its heyday, and it says a lot about how things have changed since the early 80s when you consider that the senior champion at that time could expect not just front page newspaper coverage but also TV and radio engagements and a marked upturn in bookings. Sadly The Golden Fiddle is no more, but it was a daunting prospect for any fiddler, with not only the heats and the final to contend with but a tense build-up during the grand concert which was usually held before a packed house in a venue like The Usher Hall in Edinburgh. I competed in The Golden Fiddle finals on three occasions, in Glasgow, Edinburgh and Dundee, and for me it was always a long road home; however, I was never downbeat for long. The day before the finals in Dundee in 1982 I went head first over the handle-bars of my bike during a school cycle trip; fracturing my nose and badly ripping up my knees and elbows. My parents weren’t best pleased but I attended the competition anyway and, despite looking like I’d gone through a mincing machine, I still thought I was in with as good a chance as anyone else.
I don’t tend to get that nervous when I’m performing (though there are the occasions on which I do) but laterally I did get bothered when I was competing, especially at Glenfiddich when the muscles would tense up, my chest get tight and a cold sweat would run down the back of my legs. This was something which seemed to get worse as I got older and I would guess that as a younger player who was trying to prove myself I had a hunger to win and a desire to make a name for yourself, while later in my competition career and as a regular competition winner you then become one of the people to beat.
This brings me to an important point; competition is as much a test of character as a test of ability and the competitor who can cope with the stress and pressure will always be in with a shout. There have been a number of times as an adjudicator where I’ve been surprised at the poor performance of ‘the favourite’ and I can certainly attest to the fact that at many a championship I came off stage thinking I’d played far better at home in the kitchen the previous night. The thing is, competition should not be the end in itself but should be the means to an end and should be considered as a great way to develop as a player and assist in making your reputation.
The year I won The Glenfiddich Fiddle championship at Blair Castle I had just become engaged the night before the competition – and to be perfectly honest my mind wasn’t really on the work at hand! However I was well practiced and, for the first time at Glenfiddich, carefree and relaxed; of course on this occasion I had also had just the right dose of Balvenie to bring me to the peak of condition (this is not to say that getting blind drunk is a good idea – it’s not!)
One year later and it was quite a different story, as I’d just gone through a fairly unpleasant break-up and, being at a low ebb, was completely unprepared for such an emotionally exhausting experience.
Looking back on these two Championships it seems very clear to me that being able to deal with the nerves and stress of competition is almost as important as being musically well prepared.
My days of competing are long gone now but I like to keep an eye on the competition scene to see who’s making a name for themselves and, of course, I also adjudicate the odd competition now and again; I’ve been one of the three judges at Glenfiddich on a couple of occasions now.
As someone who does adjudicate regularly I perhaps do have some basic advice for any budding fiddle competitors. Although being well turned out is never going to beat a masterful performance, I would say that being tidy and well turned out does create a good and memorable first impression; playing in competition is a little bit like serving an apprenticeship and making an effort for your audience is a habit worth cultivating.
Always pick repertoire which is well within your capabilities; a set of fairly straightforward, standard tunes played at a nice steady tempo and with good grasp of style and character will always for me beat a set of the most complicated, showy tunes played hell for leather. One of the worst decisions I made when competing was in deciding was to play Skinner’s classic hornpipe The Mathematician, as I went into The Glenfiddich only getting the tune right about 50% of the time in practice. I duly made an a*se of the tune and wished I’d played something I could cope with!
A point I mentioned earlier, and which ties in with my last comment, is that practice is essential and being well prepared will help you to cope with the inevitable nerves and stress.
Always wait for the adjudicator to give you a nod to begin playing, as I often find that I’m still writing up the previous competitor when the next one is ready to begin, and when you do start make sure you stand well to the front of the stage with the fiddle facing the judge; i.e. so that the sound is directed towards the judge.
It might seem a little obvious, but always make sure that you’re in tune before beginning; if you can’t tune your fiddle yourself, ask someone else, even the adjudicator.
If you are playing with an accompanist make sure that you get as much rehearsal with them as you possibly can; it will always make for a much tighter performance.
Make sure that when you put a set of tunes together that they are the type of tune requested and ‘Scottish’; on a number of occasions I’ve adjudicated competitors who have played pipe marches instead of strathspeys and Irish tunes instead of Scottish.
At the end of the day, competition is not the be all and end all and you should enjoy the music and take the opportunity to hear as many different players as possible; they all have something different to offer. If you can, try and track down recordings of some of the dreat players of the last century because in their playing you’ll hear the essence of our unique Scottish fiddle tradition and this can only have a positive influence on your own playing; players like Hector MacAndrew, Angus Cameron, Willie Hunter and Angus Grant are all good examples. Above all enjoy the music, it’s one of Scotland’s greatest national heirlooms and thankfully still a living tradition. And finally practice, practice, practice!
How to Choose a Violin
by Peter Zaret
One of the most common beliefs in choosing a violin is that the more you pay the better the tone. This is unfortunately not true. There are some people who get a fine sounding violin for a small amount of money and there are some who spend a lot of money for a poor sounding violin.
There are many criteria in evaluating a violin. Unfortunately tone is not typically not near the top. For the most part here is the list of characteristics of a violin that determine prices, in DECLINING order of importance:
The Maker
Country of Origin
Condition
Age
Physical Beauty
Tone
Investment Potential
Size and Arching
Others not necessarily in order are :
Responsiveness
Evenness
Arching (flat as opposed to high)
Wolf tones – or lack of them
Clarity of tone
Correct measurements – particularly for the 4/4 size
The Maker
Stradivari made some fine sounding violins, some mediocre sounding violins and some poor sounding violins. A violin is made of wood. Each piece of wood vibrates differently. The spruce top is the sounding board. Spruce is generally considered to be the best material for the sounding board of a string instrument. It is the sounding board for the piano, harpsichord, guitar, lute, etc. Each piece of spruce vibrates differently.
In addition to the spruce top, the back, sides, blocks, even the fingerboard vibrates. It is impossible to duplicate this combination of vibrating parts from one instrument to another. Therefore don’t let the name intimidate you when trying a violin. If it doesn’t sound well don’t feel guilty if you don’t hear the magical quality that is supposed to be in there.
Over and over I hear the complaint that, “I have this Vuillaume, Gafliano or Scarampella, etc. The only problem I have with it is that it doesn’t sound well.” I have seen any number of fine violinists trade in a fine sounding violin for a big name instrument that doesn’t sound as good. They think there is some sort of magical quality in the expensive violin that just needs some coaxing out, or a new bridge, soundpost, bass bar, etc.
Country of Origin
Most people think the Italian instruments are the best. The Italians have a few advantages here. The violin was invested in Italy and the earliest music for the violin comes from Italy. Also the Italians have rarely gone in for commercialism in violin making like France and Germany, for instance. Chances are if the violin is Italian it was made by one person or is the person had some reputation, by apprentices, assistants or students in a small enterprise supervised by the person whose name is on the violin. ‘Handmade’ is the catchword here as opposed to machines or many hands making the same violin.
Condition
With an older violin condition becomes very important. A violin with a lot of cracks and repairs may sound well when it is purchased, but changes in the weather, bumps, lack of humidity or too much humidity can cause structural or tonal problems. Cracks can open, form, the neck can drop, buzzes can occur and endless problems can result from many repairs. I never send a violin to Puerto Rico or Alaska that has any structural repairs because of the extremes in their climates.
Age
There is no question that all things being equal, an old violin will sound better than a new one. With age the wood hardens and becomes more resonant. If the violin has a soft varnish age will make the varnish harden also. However, a new violin is much more preferable to and old violin with many repairs. A good new violin will improve with age. (On the other hand a new violin with plates that are too thin will deteriotiate with age). All in all, the condition of an old violin must be weighed with the advantages of the structurally perfect condition of a new violin.
Physical Beauty
If I line up five or six violins for a customer to try, the first one he or she usually goes for is the best looking one. Quite often people will zero in on a violin if it is highly flamed or of it has a one piece back. The flaming has little to do with the tone. Even if I ask the person before he or she tries the instruments, “Does the appearance matter?” and they say, “All I want is a beautiful tome” they will gravitate to the best looking instrument. It is difficult to enjoy a meal which may taste great but looks horrible. There are many modern makers who take great pains to make violins look like an old Italian masterpiece. If there is a connection with the physical beauty and the tone, it has to do with how much time and money the maker has put into the instrument. However, the antiquing doesn’t make the violin sound better. The choice of wood for its beauty as opposed to its acoustical properties will be detrimental to the sound.
Tone
There are hundreds of adjectives that describe the tone of a violin: warm, lyrical, rich, clear, deep, smooth, brilliant, and on and on. The most important one though, is power. A good violin will be loud. Power is measurable in concrete terms. Over and over I ask these hypothetical questions: Why do you think an orchestra has 35 violins and 3 flutes? The answer is that the flute produces the power of 10 violins. Have you ever seen a violin drown out a piano? Have you ever seen in a violin concerto, the soloist drowning out the orchestra? Other tonal characteristics are of lesser importance such as evenness, responsiveness and physical comfort, etc. A violin can never be too loud. It is the only instrument in the orchestra (other than the viola) where the tone comes out of a hole three inches from the left ear and aimed directly at the ear. It sounds much louder to the player than to the audience. The flute blows the tone out, away from the player’s ear, as do the clarinet, trumpet, etc. If you have been playing on a violin with a sweet and warm quality under the ear, a violin with a strong tone will make you jump when you first try it. However within one hour you can get used to it and going back to a violin with a soft tone will leave you frustrated.
Investment Potential
A good Italian and / or French violin with papers from a reputable authenticator can be a good investment. In the past 50 years or so the prices of these instruments have increased dramatically. However, if you arte a player trying to make a career, a violin that has the type of tone that you want should outweigh the investment potential. For a collector or an amateur this might not be the case. I tell customers that after you play a recital and nobody can hear you, you can’t turn to the audience and say, “But the violin has great investment potential”!!!
Size and Arching
Correct measurements are very important. Sticking to standard measurements will help greatly, particularly for intonation if you play on more than one violin. (For instance you have one violin for solo work and another for teaching, playing outdoors, etc.) Most people don’t like high arching, as a violin with high arching will tend to have a nasal quality and not produce the power of a good violin with relatively flat arching.
Additional Considerations
It is very important to deal with a violin shop as opposed to a store that sells other musical items such as flutes, guitars, keyboards, etc. Bowed string instruments need people with specialized training and focus who can do proper set-ups, select the best strings for the individual instrument, and generally maximize a stringed instruments potential. An expensive instrument can sound and behave as badly as a student instrument if it is not properly set up. Since a violin shop is so specialized, most string players in a particular city will usually know about and recommend the best shops.
Frequently Asked Questions
Should a violin teacher help students pick a violin?
A teacher’s input can be very helpful in selecting a violin, particularly if the teacher is a good player. Sound can be very subjective and the student should have the benefit of a good ear for sound from the teacher.
It is important, however, to make sure the teacher can be objective in the selection. There are occasions where the teacher is getting a commission from the dealer or shop. Since the teacher is spending a lot of time in the decision process he or she should be compensated. However, if there is a choice for instance between a couple of violins, one from a shop where the teacher gets a commission and another from a shop that doesn’t give commissions, it is important that the best violin is recommended. This can be a very awkward situation.
What is the Price Range for an Intermediate or Advanced Instrument?
For a reasonably serious student to professional the range is likely to be between approximately £500 - £2,000. Depending on your situation it may be better to start from the other side of the equation; how much can you spend? Then, look for the best sounding instrument in good condition in that range. Violin making is a very inexact science. There are many fine expensive violins that don’t sound well and there are many inexpensive violins that do sound well. You need to pick up as many as you can and play them.
When should I rent instead of buy or vice versa?
It is a good idea to rent if the person playing is a beginner. This gives you the flexibility of getting rid of the violin if there isn’t progress. However, most rental instruments are of the most basic quality, which means they don’t have a great sound and may not be as ‘playable’ as a higher quality instrument. There is always a dilemma here. Ideally you should rent a violin long enough to evaluate whether there is a true interest in learning and playing the instrument. When an adequate level of seriousness is evidenced, invest in the best instrument you can afford at the next level. (The ‘next level’ is a very broad place.) A playable, good sounding instrument makes practicing much more pleasurable and will increase progress. Common sense is important here – the most gifted child might not yet be responsible enough yet to be trusted with a very expensive instrument. But a discerning student at any age will appreciate the differences between a cheap starter instrument and a better one. If the student is committed, the time to upgrade is at the point when the musician can tell the difference.
Many shops give you credit for a certain amount of money in the rental and will apply it to the purchase of either that instrument or a better one.
Should I buy from eBay?
This is a difficult question. Occasionally there are good buys on eBay but most of the time it is a bad idea. The main problem is that you can’y buy the violin before you buy it. The violin might be a bargain but unplayable. The violin might be ‘worth’ the money but have an inferior tone. Once again a high price doesn’t guarantee a good tone and vice versa. I have seen at least three instances where a violin purchased on eBay – supposedly from abroad with a high price and purportedly made by such-and-such a maker – turned out to be a fake for which the customer grossly overpaid. Buyer Beware!
Making stringed instruments is both an art and a science. Selecting one is similar. Some of your considerations should be logical; is the instrument in good repair? Will it hold or increase its value? Is it ‘playable’ for me? But you also have to use your emotions and artistic judgment; does this instrument delight me? Can I make it sing? Does it give me the chills? You’re going to spend a lot of time with this instrument, whatever you pay for it, so evaluate it on as many levels as you can.
Good Luck!
Lairg Music Festival
by
………
Angus Accordion & Fiddle Festival 2008
by Ron Ramsay
The best Festival yet, seems …………….
See Hear! with Bill Brown
CD Reviews
More Bits and Pieces – Tom Alexander MBE – Pegasus Entertainment – PEGCD646
30 Years On – Forres Accordion & Fiddle Club – DRCD3004
Farrar – Duncan Chisholm – CPFCD003
Just the Three of Us – Bill Black – SMR151CD (Bill, Mabel & Judi)
Take the Floor – Saturday Evenings 19.05 – 20.30 with Robbie Shepherd
REPEATS
2nd Aug 08 – Fergie MacDonald CB (OB from Lochinver)
9th Aug 08 – Tom Orr SDB (OB from Celtic Connections)
16th Aug 08 – Bill Black SDB (Callum Nicolson Trio)
22nd Aug 08 – Susan MacFadyen SDB (OB from Dumfries)
30th Aug 08 – James Coutts SDB (OB from Dunfermline)
CLUB DIARY
Aberdeen (Old Machar RBL) –
Alnwick (The Farrier’s Arms – Shilbottle)
Annan (St Andrew’s Social Club) - 17th Aug 08 – Jimmy McQuire SDB
Arbroath (Viewfield Hotel) - 3rd Aug 08 – Bon Accords
Armadale (Masonic Hall) –
Balloch (St. Kessog’s Church Hall) –
Banchory (Burnett Arms Hotel) – 25th Aug 08 – Graeme Mitchell SDB
Banff & District (Banff Springs Hotel) – 6th Aug 08 – John Stuart SDB 13th Aug – Johnny Duncan 20th Aug – Garioch Blend 27th Aug – Dick Black Band
Beith & District (Anderson Hotel) –
Biggar (Municipal Hall) –
Blairgowrie (Moorfield Hotel) - 12th Aug 08 – Craig Paton
Britannia (Arden House Hotel) -
Bromley (Trinity United Reform Church) -
Button Key (Windygates Institute) –
Campsie (Glazert Country House Hotel) -
Carlisle (St Margaret Mary Social Club) -
Castle Douglas (Urr Valley Country House Hotel) –
Coalburn (Miners’ Welfare) -
Crieff & District (Crieff Hotel)
Cults (Culter Sports & Social Club)
Dingwall (National Hotel) –
Dunblane (Victoria Hall) –
Dunfermline (Headwell Bowling Club) –
Dunoon & Cowal (McColl’s Hotel)
Duns (Royal British Legion Club, Langtongate)
Ellon (Station Hotel) – 19th Aug 08 – Alasdair Salter & Ian Thow
Fintry (Fintry Sports Centre) –
Forfar (The Royal Hotel) - 31st Aug 08 – Gordon Brown SDB
Forres (Victoria Hotel) –
Galashiels (Abbotsford Arms Hotel) –
Glendale (The Glendale Hall) -
Glenfarg (Lomond Hotel) - 6th Aug 08 – Club Night
Glenrothes (Victoria Hall, Coaltown of Balgownie) - 28th Aug 08 – Tom Orr Trio
Gretna (Athlitic & Social Club) -
Haddington (Railway Inn) -
Highland (Waterside Hotel) –
Inveraray (Argyll Hotel) -
Isle of Skye – (The Royal Hotel, Portree) -
Islesteps (The Embassy Hotel) –
Kelso (Cross Keys Hotel) –
Kintore (Torryburn Arms Hotel) –
Ladybank (Ladybank Tavern) - 21st Aug 08 - tbc
Lanark (Ravenstruther Hall) -
Langholm (Eskdale Hotel) –
Lewis & Harris (Stornoway Legion) - 2nd Aug 08 – Carnival Day with John Carmichael’s Band 7th Aug – Local Players
Livingston (Hilcroft Hotel, Whitburn)
Lockerbie (Queen’s Hotel) -
Mauchline (Harry Lyle Suite) -
Montrose (Park Hotel) –
Newburgh (The Ship Hotel) -
Newmill-on-Teviot / Teviotdale (Thorterdykes Roadhouse)
Newtongrange (Dean Tavern) –
North East (Royal British Legion, Keith) –
Oban (The Argyllshire Gathering) –
Orkney (Ayre Hotel, Kirkwall) –
Peebles (Rugby Social Club) –
Perth (Salutation Hotel) –
Premier NI (Chimney Corner Hotel) -
Reading Scottish Fiddlers (Willowbank Infant School, Woodley) -
Renfrew (Masonic Hall, Broadloan) –
Rothbury (Queen’s Head Hotel) -
Scottish Accordion Music (Banchory) - 10th Aug 08 – All Players Welcome
Selkirk (Angus O’Malley’s) -
Shetland (Shetland Hotel, Lerwick) -
Stonehouse (Stonehouse Violet Football Social Club) -
Sutherland (Rogart Hall) -
Thornhill (Bowling Club Hall) -
Thurso (Pentland Hotel) –
Turriff (Commercial Hotel, Cuminestown) – 7th Aug 08 – Steven Carcary
Tynedale (Hexham Ex Service Club) – 21st Aug 08 – Willie McFarlane Band
Uist & Benbecula (C of S Hall, Griminish) -
West Barnes (West Barnes Inn)
Wick (MacKay’s Hotel) –
THERE WERE CLUB REPORTS FROM :-
1. Alnwick
2. Armadale
3. Banchory
4. Banff
5. Blairgowrie
6. Button-key
7. Dunoon & Cowal
8. Forfar
9. Forres
10. Highland
11. Lanark
12. Lewis & Harris
13. Montrose
14. Orkney
15. Perth
16. Rothbury
17. Turriff
18. Tynedale
19. Wick
CLUB DIRECTORY AS AT OCT 2007
(Clubs didn’t necessarily notify the Assoc when they closed so the following may not be entirely correct. Only the clubs submitting the reports or in the Club Diary above were definitely open.)
1. Aberdeen A&F Club (1975 – present)
2. Alnwick A&F Club (Aug 1975 – present)
3. Annan A&F Club (joined Assoc in 1996 but started 1985 – present)
4. Arbroath A&F Club (1991? – present)
5. Armadale A&F Club (Oct 1978? or 80) originally called Bathgate Club (for 2 months) Closed early 08-09
6. Balloch A&F Club (Sept 1972 – per January 1978 issue – present)
7. Banchory A&F Club (1978 – present)
8. Banff & District A&F Club (Oct 1973 – present)
9. Beith & District A&F Club (Sept 1972 – per first edition – present)
10. Belford A&F Club (joined Sept 1982)
11. Biggar A&F Club (Oct 1974 – present)
12. Blairgowrie A&F Club (
13. Britannia B&F Club ( joined 07-08 but much older
14. Bromley A&F Club (joined 95-96 – closed early 08-09)
15. Button Key A&F Club (
16. Campsie A&F Club (Nov 95 – present)
17. Carlisle A&F Club (joined Sept 1993 -
18. Castle Douglas A&F Club (c Sept 1980 – present)
19. Coalburn A&F Club (
20. Crathes (aka Scottish Accordion Music – Crathes) (Nov 1997 -
21. Crieff A&F Club (cSept 1981)
22. Cults A & F Club (
23. Dalriada A&F Club (Feb 1981)
24. Dingwall & District A&F Club (May 1979 – per first report)
25. Dunblane & District A&F Club (1971 – present)
26. Dunfermline & District A&F Club (1974 – per first edition)
27. Dunoon & Cowal A&F Club (
28. Duns A&F Club (formed 20th Sept 04 – present)
29. East Kilbride A&F Club (Sept 1980 – Closed 04/05)
30. Ellon A&F Club (
31. Fintry A&F Club (Dec 1972 – reformed Jan 1980 – present)
32. Forfar A&F Club (
33. Forres A&F Club (Jan 1978)
34. Galashiels A&F Club (joined Sept 1982 - present)
35. Galston A&F Club (Oct 1969 – per first edition – closed March 2006)
36. Glendale Accordion Club (Jan 1973)
37. Glenfarg A&F Club (formed 1988 joined Assoc Mar 95 -
38. Glenrothes A&F Club (Mar 93?
39. Gretna A&F Club (1991) Known as North Cumbria A&F Club previously (originally called Gretna when started in June 1966 but later had to move to venues in the North of England and changed name. No breaks in the continuity of the Club)
40. Haddington A&F Club (formed Feb 2005 - )
41. Highland A&F Club (Inverness) (Nov 1973 – present)
42. Inveraray A&F Club (Feb 1991 - present)
43. Islesteps A&F Club (Jan 1981 – present – n.b. evolved from the original Dumfries Club)
44. Isle of Skye A&F Club (June 1983 – present)
45. Kelso A&F Club (May 1976 – present)
46. Kintore A&F Club (
47. Ladybank A&F Club (joined Apr 98 but formed earlier
48. Lanark A&F Club (joined Sept 96 – closed March 2015)
49. Langholm A&F Club (Oct 1967 - present)
50. Lewis & Harris A&F Club (Aug 1994 -
51. Livingston A&F Club (Sept 1973 – present)
52. Lockerbie A&F Club (Nov 1973 - present)
53. Maine Valley A&F Club (
54. Mauchline A&F Club (Sept 1983 - present)
55. Montrose A&F Club (joined Sept 1982 - present)
56. Newburgh A&F Club (joined 2002 but founded
57. Newmill-on-Teviot (Hawick) (Formed late 1988 joined Assoc 1999
58. Newtongrange A&F Club (joined Sept 1977 - present)
59. North East A&F Club aka Keith A&FC (Sept 1971 - present)
60. Oban A&F Club (Nov 1975 - present)
61. Orkney A&F Club (Mar 1978 - present)
62. Peebles A&F Club (26 Nov 1981 - present)
63. Perth & District A&F Club (Aug 1970 - present)
64. Premier A&F Club NI (April 1980)
65. Phoenix A&F Club, Ardrishaig (Dec 2004 -
66. Renfrew A&F Club (1984 -
67. Rothbury Accordion Club (7th Feb 1974) orig called Coquetdale
68. Selkirk A&F Club (
69. Shetland A&F Club (Sept 1978 - present)
70. Stonehouse A&F Club (first report June 05 -
71. Sutherland A&F Club (Nov 1982 -
72. Thornhill A&F Club (joined Oct 1983 – see Nov 83 edition – closed April 2014)
73. Thurso A&F Club (Oct 1981 - present)
74. Turriff A&F Club (March 1982 - present)
75. Tynedale A&F Club (Nov 1980 - present)
76. Uist & Benbecula A&F Club (Dec 2007 but formed 1994 -
77. West Barnes ( - present)
78. Wick A&F Club (Oct 1975 - present)
Not on official list at the start of the season (closed, did not renew membership or omitted in error?)
79. Acharacle & District A&F Club (cMay 1988)
80. Ayr A&F Club (Nov 1983 – per Nov 83 edition) Closed
81. Bonchester Accordion Club (Closed?)
82. Bridge of Allan (Walmer) A&F Club (Walmer Hotel, Bridge of Allan) (c March 1982)
83. Brigmill A&F Club (Oct 1990) Closed
84. Buchan A&F Club
85 Callander A&F Club (
86 Campbeltown & District A&F Club (c Dec 1980)
87 Cleland (cNov 1981 – March 1985) originally called Drumpellier A&F Club (for 2 months)
88 Club Accord
89 Coquetdale A&F Club (Feb 1974 or c1976/77 – 1981/2? – became Rothbury?)
90. Coupar Angus A&F Club (cSept 1978 - ?)
91. Cumnock A&F Club (October 1976 - forced to close cDec 1982 - see Jan 83 Editorial)
92. Denny & Dunipace A&F Club (Feb 1981)
93. Derwentside A&F Club
94. Dornoch A&F Club (first mention in directory 1986)
95. Dumfries Accordion Club (Oughtons) (April 1965 at the Hole in the Wa’)
96. Dunbar Cement Works A&F Club (Closed?)
97. Dundee & District A&F Club (1970? – 1995?)
98. Edinburgh A&F Club (Apr 1981) prev called Chrissie Leatham A&F Club (Oct 1980)
99. Falkirk A&F Club (Sept 1978 - )
100. Fort William A&F Club (21st Oct 1980 – per Dec 1980 B&F)
101. Gorebridge (cNov 1981) originally called Arniston A&F Club (for 2 months)
102. Greenhead Accordion Club (on the A69 between Brampton and Haltwistle)
103. Islay A&F Club (23 Apr 93 -
104. Kirriemuir A&F Club (cSept 1981)
105. Lesmahagow A&F Club (Nov 1979 – closed May 2005)
106. M.A.F.I.A. (1966 – 1993?)
107. Monklands A&F Club (Nov 1978 – closed cApril 1983)
108. Morecambe A&F Club (joined Sept 1982)
109. Muirhead A&F Club (Dec 1994 -
110. Mull A&F Club
111. Newcastleton Accordion Club
112. New Cumnock A&F Club (cMarch 1979)
113. Newton St Boswells Accordion Club (17th Oct 1972 see Apr 1984 obituary for Angus Park)
114. Ormiston Miners’ Welfare Society A&F Club (closed April 1992 – per Sept Editorial)
115. Reading Scottish Fiddlers (cMarch 1997
116. Renfrew A&F Club (original club 1974/5 lapsed after a few years then again in 1984)
117. Stirling A&F Club (Oct 1991 – closed 20000/01?)
118. Straiton Accordion Club (c1968 – closed March 1979)
119. Stranraer & District Accordion Club (1974 – per first edition)
120. Torthorwald A&F Club (near Dumfries)
121. Tranent A&F Club
122. Vancouver
123. Walmer (Bridge of Allan) A&F Club
124. Wellbank A&F Club
125. Yarrow (prev known as Etterick & Yarrow) (Jan 1989 – closed 2001/02)
Advertising rates
Back Page (colour) - £300
Full Page (colour) - £220
Full Page (b&w) - £140
Half Page (colour) - £110
Half Page (b&w) - £70
Quarter Page (colour) - £55
Quarter Page (b&w) - £35
Eighth Page - £18
Small Boxed £12