Violin Final
Violin Final
Violin Final
F.3-63/2000. S&F 1
Submitted to the
Department of Culture
Government of India
For the Junior Research Fellowship award in the year 2000-2002
A Study on Violin Rebuilding Technology
F.3-63/2000. S&F 2
Acknowledgement
Thanks to the Deputy Secretary, Under Secretary and all the staff of
culture department S&F section, for their timely assistance in
accomplishing the official formalities.
Preface
I was eighteen years old when I first started learning the violin. This
was a time when I had absolutely no knowledge whatsoever of the
instrument. Though my urge to learn the instrument was strong, my
pockets were drained and Rs.500/- was an exorbitant amount for me at the
time (1986), to purchase a new violin. Then, one fine day, it was as if God
heard me, and believe it or not, I got a violin for a ‘measely’ sum of
Rs. 250/-. The story behind this was that my college peer from Ceylon
studying in Tamilnadu Government Music College, Madras, sold his violin
just for the simple reason that he was not able to sit in the special south
Indian Squat-legged position required to play the violin.
In the year 1991, I incidentally met Shri. Govindan, when I had been
to Tiruchirapalli for giving a performance along with my violin teacher
Smt. Papanasam Balasaraswathi. I was introduced to this great technician
through my guru. She asked me to get his blessings and I was asked to
play the violin in front of him. Noting my ability and tonal quality, he took
my violin and checked it by the “Knock test” which showed small cracks
in the top button region. He identified the cracks by inserting a razor blade,
and this gave me the shock of my life. He advised me to get it rebuild for a
‘measely’ sum of Rs.300/- I got it rebuild by his deft hands and the rebuild
violin sounded much better.
It was then that my thirst for knowing more about this “Rebuilding
Technology” increased and I wanted to learn it by hook or by crook. Both,
western and south Indian musicians, with whom I was associated with,
recognised the better tonal quality produced in my violin.
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Tiruvannamalai.
1st December 2002. R. KASIVISWESWARAN.
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Introduction
The violin instrument is adapted from Europe to Indian classical music. Indian
violin artists made a remarkable achievement in bringing the Indian aesthetic sense in
violin instrumental music. The violin music captured the highest state for supporting
the vocal style of singing in Carnatic classical music.
It is a common fact that the violin instrument has a majestic tonal quality.
According to senior musicians, most of the violin instruments made in the eastern
countries like India and China, have to improve the tonal quality of the violins made
in western countries, like Italy, Germany, France and Czechoslovakia.
Most of the performing violin artists have to rely on their technicians, for
restoring the original tonal quality after every service. There are very few technicians
in India to fulfill the expectations of a musician to restore the bright tonal quality. It is
a fact that most of the technicians have poor aesthetic sound sense and their attempts
to restore the tonal quality will lead to a great disappointment.
In order to bridge the technicians and the musicians, there must be a possibility
to find a technological solution for restoring the perfect tonal quality after every
service done in a violin instrument. In the event of success in the technology, it would
be a revolution in the violin manufacturing and service industry in India.
It was decided to study the violin restoration work from a traditional violin
technician as well as from an industrial factory technician who uses modern
technologies in violin construction.
Major part of the research study was done with Sri Govindan, a traditional
musical instrument technician based in Tiruchirappalli, in the state of Tamil Nadu,
and Sri N.N. Mondal of Kolkata, in the state of West Bengal.
Sri Govindan has studied under the tutelage of his uncle, Late Sri Gangadaran,
who was a great instrument technician in South India in the early part of the 20 th
Century. Sri Govindan is the senior person in the industry who is admired by the
famous violin musicians in Carnatic classical music, for his wonderful manufacturing
of the Shruthi Box, the Vina making & service, and the Violin restoration work.
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With reference to the treatises available in South Indian classical music, the
violin instrument has been introduced during the British rule in India. Sri. Balusamy
Dikshitar, the elder brother of Sri. Muthusamy Dikshitar, one of the music trinity
tried to play the instrument in the South Indian classical style.
Dr. K.A Pakkirisamy Bharathi who has done research in old musical
instruments in India, says that there is a sculpture like a violin with bow found in
Chidambaram Sri. Nataraja Temple. It is said that the sculpture is 700 years old.
Shri Goutham Goal, the secretary of the Delhi Phillohmonic Orchestra, says
that the violin making in India was found during the Portugal period. The Portugal
established their business in Goa. In the city of Panaji, violins were made and
exported to Europe.
My personal belief is that the modern-day violin may have evolved from this
NAARADHA VEENA, which is in the shape of a cobra’s hood. In ancient times,
most instruments were usually shaped according to a human or animal part. Hence it
could have been that these tribal people- the Nagas could have shaped this
NAARADHA VEENA according to the God they worshipped namely “ The cobra or
Nagaraja.”
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A large number of great artists devoted their life to develop the south Indian
classical style of violin playing. Shri. Balusamy Dikshiter (1786- 1858) was the
pioneer in this field. He served as the ASTHANA VIDWAN (court musician) in
Ettayapuram Samasthanam during the year 1824 A.D.
Sri Balusamy Dikshitar has decided to retune the violin, to match with the
South Indian classical vocal music. He has introduced the Sa, Pa, Sa, Pa tuning
system. The alteration of tuning is as fallows:
Western Tuning E A D G
Tanjavur Vadivelu Natuvnar (1810-1846) has learnt the violin from Shri
Balusamy Dikshiter, and became the court musician of Trivancore Swadhi Thirunal
Maharaja. The king admired his violin music and rewarded him with a custom made
ivory violin in the year 1834 A.D
The violin music is upgraded by the maestros of the present century, like T.N.
Krishnan, Lalgudi G. Jayaraman and M.S. Gopalakrisnan. The styles of these
maestros are unique in bringing out the aesthetic values of the south Indian classical
music tradition.
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The violin music played in India features a vast variety of music systems. To
name a few:
Some ancient string instruments which may have evolved as the violin
a. Violin Instrument
b. Violin Bow
c. Violin case
d. Rosin
a. Violin Instrument
A Standard full size violin is assembled from 70 different types of parts. The
standard full sized violin is the best-known and most widely used model for practice
and performing. The violin body is made with maple or pinewood with vertical
grains. The body has a table board and bottom boards. The bottom board is made
with two pieces. These two boards are attached with six numbers of ribs and neck and
scroll box.
Back and belly are given the shape peculiar to them by means of various
cutting tools, such as chisels, small planes and knives. The neck is carved. The ribs
and linings are chiselled, and after ward smoothed by means of water and hot iron.
It is certain that the perfection of the violins built by famous makers is due to
the fact that these genuine artist – craftsmen built their instruments according to plain
and simple rules, established on a mathematical foundation, and without varying the
proportions of their sound boards and backs. The proportions were fixed as follows:
The thickest part of belly was that found beneath the bridge, between the two
F-holes. In moving away, towards the sides, its thickness continued to decrease, in
such wise that it was no more than half that of the belly in the places where the latter
rests on the ribs and the moulds.
In the length of the instrument, the thickness of the belly was preserved
throughout the entire lengthwise extension of the bass-bar, finally coming to an end
towards the upper molds and the lower molds in a thickness that was exactly half the
thickness of the belly.
In their breadth it would appear that the cheeks of these instruments were only
one-fourth as thick as their bellies.
These proportions are the sole ones which are capable of giving a violin the
strength, brilliancy and sweetness of tone desired for the instrument. The backs of
these violins had the same proportions at all points, save that most of them had backs
that were somewhat thicker than the bellies.
The back was made of a variety of spruce, whose larger veins were equally
spaced throughout the entire length of the instruments; the arch of the belly
correspondent in every respect to that of the back. The F- holes were very clean-cut
and their upper perforations were separated one from the other by the exact
measurement of length and the width of the bridge.
The neck was made of very fine plane wood, and the walls of the peg box were
extremely thick, the scroll perfectly rounded was very large from one to the other
button.
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The body of the violin polished with yellow amber varnish gave them a
brownish cherry color or mahogany color.
The back and top boards were glued with the neck and ribs. On confirming
that, these parts were perfectly glued with one another, the fingerboard would be
pasted in a specific degree on the neck area and the button would be fixed along with
the tailpiece. Then the four pegs would be placed in the peg box. Then the four
strings should be fixed between the pegs and tailpiece. The bridge would be placed
exactly to the mark line made in the F-holes. Finally the sound post should be placed
till the bright tonal quality is identified.
The bow is made in a stick form. The head portion should be thinner than the
frog Portion. The head will have an appropriate room to allow the bow hair to fit in
properly. Another end of the bow hair will be fixed in the frog area. The frog is
designed to operate a screw, which is drilled in the stick to adjust the tension of the
bow hair. The bow hair is made from horsehair, sometimes nylon ropes, (between
150 – 200 ropes) properly combed and both ends will be molded at a particular
temperature. Then the hair will be fixed between the frog and the head. A special
ivory or wooden piece is to be placed firmly, in a way that it should prevent the hairs
from detachment at both ends.
The research study emphasises more on the details of the violin restoration
work, than on violin construction work. The restoration work is commonly known as
rebuild work among the south Indian violin artists and technicians.
The common problems, which can be fixed without opening the violin body,
are as follows: -
Change of strings
Stabilizing the pegs
Changing the pegs
Correcting the bridge and sound post
Tail piece connection
Finger board level adjustment
Changing the fingerboard
Weaker cracks found in the ribs
Dilution of rich tonal production
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Whenever there is a need for string changing, it is advisable to change all the
four strings for better sound levels. Changing a string is also an art, one must know.
If only one string should get changed, reduce the tension of the other strings on the
bridge to an optimal level, and remove the unwanted string. Then take the new string
from the cover and release the winding gently and evenly. The tail end of the string
should get inserted into the peg hole and then roll the peg clockwise. The button end
of the string should carefully be placed through the nut carving and bridge carving,
then to the string adjuster or tailpiece hole. Holding the button in one finger, roll the
peg as required. Confirm that the winding is neat and equal. Then tune the string to
the desired pitch.
If all the four strings are changed at the same time the following procedure will
help to keep the bridge position as it is.
Step 1 Reduce the tension of the strings in the order E, G, A, and D respectively
Step 2 Remove the E string and replace with fresh
Step 3 Remove the G string and replace with fresh
Step 4 Remove the A string and replace with fresh
Step 5 Remove the D string and replace with fresh
Step 6 Tune the violin to the required pitch
Optional: In order to prevent the string, making a deep cutting in the bridge, the
small rubber tube available in ‘E’ string can be placed across the bridge, velvet made/
cloth made buttons available in the A, D and G strings can be placed respectively.
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If the peg is loose, not with standing the proper tension, few drops of clean
water may be applied on the peg before refitting.
If the peg is found cracked or not maintaining its fitness, make a suitable size
of fresh peg; then fit it into the peg box.
to normal position. (90o) If the bridge is allowed for a continuous slanting between
95o and 98o, there is a chance that the bridge may fall down. The fallen bridge should
be fixed in its original position and any difference in the tonal quality, to be corrected
by adjusting the sound post.
Note: - Violin artists and students should take serious care, not to change the
positions of the bridge and sound post often.
Tailpiece Connection
Tailpiece is hooked to the tail pin with a strong copper wire. If the cupper wire
is weaker and does not have enough strength to hold the pulling power applied by the
strings, it may get cut from the tail pin. To change to a fresh wire, confirm that the
wire does not have any bend. Take the required length, and bend it to half. The two
ends of the wire should get inserted into the two holes available on the backside of
tailpiece. Pull the two ends for a length of 10 to 15 millimeters. Join the two ends
with a player and twist the wire clockwise. The twisting must be very close and all
the way down. Then fix the ‘ ’ end to the tail pin. The copper wire should not
touch the top board, and should cross the top board along the small ebony piece fixed
near the tail pin.
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Step 1 Do the level adjustment job, only when the fingerboard has enough room
on its height.
Step 2 Loosen the four strings with out disturbing the bridge position.
Step 3 Arrange the strings away from the fingerboard.
Step 4 If the line cuts are less deep, apply the sand paper to level the
fingerboard. The appropriate level should be maintained in the entire
length of the fingerboard. If the line cuts are deeper, use the fine shaver
and then apply the sand paper.
Step 5 Restore the strings to the normal position and test the sound.
Step 6 If the jarring sound is still heard in a particular area, do more work on
level adjustment
Step 7 On confirming the level of the fingerboard satisfactory, set the strings to
their original place and tune the violin.
Wood Seasoning
As per Sri. Govindan’s words the top board and the bottom boards of the
Indian violins, are made from the KALLIP PALAGAI. (Deal wood with vertical
grains) The deal wood is found in the state of Himachal Pradesh. Deal wood is a very
lightweight wood. The bottom board is normally made from pinewood. The bridge is
made of silver wood. The fingerboard, tailpiece and pegs are made of ebony
The top and bottom boards are initially made to 18” X 12” size of thin sheets,
and are kept away from the sunlight in the open air to dry. The process of seasoning
the wood consists of laying down small wooden strips in parallel followed by dry
wooden plank of any kind. Then place the thin sheet on the wooden plank, and then
another wooden plank again. Repeat the procedure as required. The hollow between
the wooden planks allows the airflow. The free airflow will help the wooden sheets to
get the required dryness.
A
B
C
D
A 18” X 12” Size wooden board which gets seasoned for making the top
and the bottom boards
B The hollow between the wooden planks
C Wooden plank
D Wooden strips
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c. During the monsoon season, if the violin is encased for a pretty long time
without proper protection, with the strings kept in a playing tension beyond the
instruments’ potential, there is a very likely chance that the violin will develop
cracks in both the areas.
Detection of cracks
The cracks in the neck region are
visible and can be detected easily, but the
cracks in the top button, and ribs area are
invisible, and require special test to be
detected. The cracks will make a jarring
noise, as the resonating air inside the body
of the violin is not only released through
the F- holes but also through the hair line
cracks in these areas.
The neck removed from the violin body
b. Removal of fingerboard
The violin fingerboard glued in the neck surface is to be gently removed by using
an opening knife. The fingerboard nut should be removed carefully.
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The glue used in the rebuild work is of a very special kind. The speciality of
the glue is to join the wood strongly, and remove the glue easily when there is a
necessity to open the violin. The formula and process may differ for every
technician. Shri K.N. Mondal of Kolkota is known for his best rebuild work. He
uses the SOOJI (the cream of wheat) for making the glue. For one measurement of
sooji add ¼ measurement of pure water. Mix it gently and make into dough. Do
not knead the dough strongly. The dough making process may be continued for a
period of four to six hours. Then the dough will turn to the state of gum. Add
required measurement of copper sulphate till the gum turns to a turquoise blue
color. The processed gum should be kept in a bowl in such a way that the gum is
completely immersed in pure water. When fixing wood joints, the glue can be
taken out from the water and a required measurement of calcium carbonate is to
be added, till the glue turns to a mild violet color.
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The ribs should be arranged to match with the top and bottom boards. The
arching of the ribs should be carefully arranged. The neck should get fixed with the
bottom board. Then the ribs and the top board should be fixed. Test the position of all
these parts carefully before applying the glue. The special glue dries quickly and acts
as a fast adhesive.
The perfect alignment, and the strength of the violin body should be carefully
maintained at least for a day. In order to do this, special clamps can be used. While
fixing the clamps, a few suitable wooden pieces are to be used as cushion in between
the violin body and the iron clamps, to prevent any damages on the outer area. On
confirming that ribs are perfectly glued with the top board, the bottom board and the
neck, the clamps can be removed gently. It is better to perform the knock test on the
glued area.
Patchwork
The patchwork is a very critical and innovative one. The size of the
damage and dimensions may vary in every case. The damages may be a hole or
multiple cracks in the top board, bottom board and the ribs. These kinds of repairs
need more efforts to fix. Sometimes the perfect wood cannot be found to match the
affected area. Water Emerson process 400 may be applied in the patching work. A
professional technician will perform the patchwork in a way that normal eyes cannot
identify the patching.
Selecting the suitable bridge and the sound post is the supreme job in violin
restoration work. Sometimes the old bridge and sound post may not suit the violin
that has to be restored. The selected bridge has to be adjusted to the required height
and thinness. The arching is to be adjusted to the fingerboard level. The arching in the
legs is to be adjusted to the level of the top board. Then the tailpiece is connected to
the tail button; the strings are connected to the pegs. On confirming all these factors,
the bridge can be placed on the top board, where the markings are made in the two
F- holes. A thin carving is to be made along the top of the bridge, for every string, at
a proportionate distance.
Shri Govindan
The tonal of quality of the violin instrument is determined by two major factors.
1. The construction and maintenance of the violin instrument
a. The perfect manufacturing and assembling of the violin instrument
b. The assembly of the sound post, bridge, strings and bow hairs
c. The position of the sound post
d. The proportionate height of the bridge
e. The alignment of curves in the fingerboard nut and bridge
f. The proper tension of the strings
g. The tension of the bow hairs
h. The concentration of rosin applied to the bow hairs
i. The contact of the bow hairs to the playing area
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The sitting posture, the violin holding posture, the bow holding, the
position of bow while contact with the strings, the rich bowing style, choosing
the strings and choosing the pitch
Apart from improper maintenance of the violin instrument there are few
technical reasons that make the instrument to an undesired tonal quality.
(i) The improper length of the copper string that connects the tail piece with
tail piece button.
(ii) Non alignment of the carvings made in the finger board nut and the
bridge.
(iii) The improper height and arch alignment of the bridge.
(iv) The arching of the bridge legs positioned in the top board.
(v) Using the bridge that not suit with sound post.
(vi) The error in the position of the bridge and the sound post.
Applying the modern technology to establish the tonal quality – Graph method
The tonal quality of the violin may get different after every restoration work. It
is a great trick to bring the desired tonal quality up to the expectation of a particular
performer. Normally the technician will go according to the scientific limitations of
the instrument. But the performer may not get satisfied with the scientific approach
and request the technician to bring the tonal quality with respect to the aesthetic
values. The process applied to bring the tonal quality jointly by the performer and
technician will require a great patience, open approach and inquisitive mind.
Normally the technician will fix the bridge in a standard position, and place the sound
post underneath the right leg of the bridge.
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During this process the technician will find the chances of the sound post
positions which suits to the expectation of the performer. It is decided to study. The
possibility to use any modern technology to make sure that the restored violin had
improved the tonal quality with a fair justification. The electro cardiograph is being
used to register even a micro vibrations made by the human heart and the variations
transferred in a graph sheet. The specialist will examine the ECG report and treat the
patient accordingly. It was intended to apply the similar technology to find any
difference of the vibrations produced by the violin instrument, with respect to the
different positions of the sound post and the bridge. It was not a surprise to find the
vibration made in the violin instrument with different bridge and sound post
positions, have brought different readings in the graph.
Step 1
Register the sound vibration of the violin instrument when it is kept into
the best standard. The graph readings should be preserved as a
permanent record.
Step 2
Read the sound vibration of the violin instrument which needs to be
restored. Examine the difference between the permanent record and the
recent record.
Step 3
On completion of the restoration work when it comes to the final process
i.e. placing the bridge and sound post positions, precise attempts to be
taken to identify the satisfied tonal quality.
Step 4
Read the graphs at this stage examine the readings and compare with the
permanent record. If these two readings match with one other, that
proves the instrument does not loose any standard in the tonal quality.
Step 5
If there is any difference between the permanent readings with the new
reading, adjust the sound post position accordingly. The process can be
applied until the violin makes the best tonal quality.
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1. The limp card which takes the tonal vibrations to the processing unit.
2. The processing unit which is designed to receive the sound vibrations
and convert them into electronic signals. The electronic signals get
transferred to the monitor and show the visual waves of the produced
vibrations.
In this system when the technician accomplish the restoration work and
brought the violin to make a better tonal quality then the performer will
play the maser pieces / favorite songs, Ragas, Thanas, and Kalpan
swaras etc. The performer will request the technician when the tonal
quality to be adjusted to a fair extent. This process will continue till the
performer’s satisfaction. The technician will make necessary
adjustments to bring the required tonal quality.