Adventurous Muse: Musical Instruments and Whimsical Things

Update on Baritone (a.k.a. Octave) Violins and Fiddles

In 2006, one of the first things Don Rickert Design (which now sells many of its acoustic instruments under the Old Mill Musical Instruments brand) set out to do is to design and build the best acoustic baritone, more correctly called an octave violin, in the world. In our early days, octave violins and fiddles are the only instruments that we made.

It has been a while since we posted any information about our Octave Violins. Many of the old postings are out-of-date, so we decided that a new article about the instrument that gave us our start.

If you have ever wondered about baritone violins (aka baritone fiddles or octave violins), hopefully this new essay will tell you what you need to know to get started in your quest for knowledge.

The first thing you need to know is that "baritone violin" is the name given to two distinctly different instruments. The first type of baritone violin is a member of the "new" violin family known as the Violin Octet. The baritone of this family of instruments is a huge instrument, with longer string length than a full-size 'cello. This is not the instrument that we make; however, if you wish to learn more, take a look at:

• The official New Violin Family Association website

The Other Kind of Baritone Violin

The second type of instrument often called a baritone violin is the violin-like instrument played under the chin, which is played like a regular violin, as it usually (but not always) has the same critical ergonomic dimensions as a standard violin. This is the type of instrument that Don Rickert Design™ designs and builds, in collaboration with the Helena, AL-based Fiddarci Lutherie™. This type of instrument played under the chin is properly called an "octave violin" or "octave fiddle"

Origins and Resurgence of Octave Violins and Fiddles

Research of the historical literature revealed that the practice of re-stringing standard violins with large diameter strings in order to play an octave lower has been around for quite some time, possibly hundreds of years. There is anecdotal evidence that more than a few early 20th Century jazz violinists/fiddlers made their own octave fiddles in such a manner. There was even a large-bodied (but still played like a violin) German instrument in the early 20th Century called an “OctavGeige”, which is simply German for “OctaveViolin.”  The great jazz violinist and Professor at Berklee College of Music, Christian Howes,  owns one of these rare instruments.

Octave violins were brought out of obscurity arguably most effectively by a 1992 article in Strings Magazine by the famous Violist/Fiddler, Darol Anger.

Except in the case of electric instruments, such as one used by Jean Luc Ponty on a 1975 recording, octave violins/fiddles in their acoustic form have been thought to be, of necessity due to their small size, quiet instruments requiring amplification when played in an ensemble of instruments. For many designers of innovative musical instruments, coming up with an acoustic baritone violin with good projection and deep timbre seemed like overcoming the known laws of physics.

In theory, you can simply replace the strings on your violin with either the Super-Sensitive or the Thomastik-Infeld octave strings and you have an octave violin. In reality, you will have to have at least some moderate luthiery work done, such as widening the nut grooves. Also, unless your string height is quite high already (that would rule out most fiddlers I know, including myself), you are going to need a higher bridge. No matter what, the converted instrument is going to be rather timid (i.e. disappointing), a predictable result of stringing a violin to play well within the 'cello range.

Purpose-Built Octave Violins vs. Converted Standard Violins or Small Violas

Purpose-built octave violins:

Instruments in this category are those that are built solely for the purpose of playing an octave (or more) lower than a regular violin. There are only a few lutheries that make these on a large scale such as Fiddarci Lutherie. Tim Phillips, located in Wales, U.K. makes an octave that often gets good reviews; however he only makes several per year. Gianna Violins either sells or used to sell (we can't tell from their website) a "Grizzly" octave instrument; however we consider it to be a converted viola and will stop at that. David Ravinus used to make a purpose-built octave, but seems to be focused on his famous and highly-regarded violas these days.

Converted Standard Violins or Violas (usually small violas):

These are instruments with larger diameter octave strings and the necessary setup changes, such as larger string grooves at the nut and bridge. Some of these instruments sound quite nice; however, it is rare to find one that will have the sonic power and volume of a purpose-built instrument. A notable exception might be a high-quality Maggini copy converted to an octave instrument. In fact, Don Rickert Design / Old Mill Musical Instruments sells an Octave version of a Maggini violin reproduction that will amaze you.

The most important difference between Magginis and other violins is that they were designed prior to Stradivari and an accurate replica is considerably larger...about a centimeter greater body length and 1 to 2 mm higher ribs and high arching. We estimate that a Maggini copy can have 5 to 10 more cubic centimeters of airspace in the soundbox. This makes a huge difference. With the right strings, Magginis sound great as octave violins and we sell quite few to VERY happy customers.

Who Plays Acoustic Octave Violins and Fiddles?

In some cases, beginner fiddlers who cannot stand the high pitch of a violin or the large size of a full-size viola will start their musical journey on an octave violin; however, the most prevalent players are serious advanced amateur and professional musicians, many of whom are recording artists.

Most makers of acoustic Octave Violins target their instruments to skilled “alternative” violinists and fiddlers looking for a new lower voice, allowing him or her to play low pitched musical parts almost as low as a ‘cello, without learning a new instrument, as the notes are in the same places on the fingerboard as a regular violin. The only new skill to learn is the proper use of a heavier viola bow (see Bow Debate). Some (a minority) octave violin players prefer a regular violin bow to a viola bow. These violin bow players are generally highly-skilled musicians who use the lighter violin bow to accommodate their unique styles of playing.

Octave Fiddles are the Ultimate Second Fiddles

A good second fiddler, of which there are far too few, will often mix chordal accompaniment with playing the main melody in unison with the main melody an octave lower (especially when playing a baritone/octave fiddle) or a harmony melody. Different regional styles will emphasize different techniques for the second fiddler; for example, in certain regions of Ireland, simply playing the tune in various combinations of unison and an octave lower is favored. In other styles, the second fiddler plays primarily chords; which works particularly well with a baritone fiddle. A viola is sometimes used as well for the same purpose.

A recent post, reproduced here, demonstrates a regular fiddle playing second to a viola.This one you have got to hear! The treble range and tenor range instruments just blend together in a magical way.

video from groundhogbrains

Keep in mind that some players actually prefer converted violins for their style of playing. For example, a major proponent of converted violins, Darol Anger, plays what might be described as a rhythmic-percussive style and a purpose-built octave instrument is simply too bassy and rich in overtones for his taste. I am certain that I did not articulate this very well and I will be hearing from Darol to correct my current understanding of his viewpoint :-)

One more point about converted violins:

There actually are certain violins that play very nicely as octaves after conversion. As previously mentioned, we have had very good results from conversions of high-quality Maggini violin reproductions, which are considerably larger than violins based on the Stradiveri or Guarneri paterms, which have become the standard...Maggini died 15 years before Stradiveri was born.

Models of Don Rickert Design / Old Mill Musical Instruments Octave Violins

In a collaboration with Fiddarci Lutherie, Don Rickert Design / Old Mill Musical Instruments makes two purpose-built (designed to be octave violins) related instruments, designed by Don Rickert with a lot of inspiration from the 19th Century artist, musician and inventor, William Sidney Mount.Old Mill Musical Instruments also sells an extremely powerful and sonorious octave violin based on a high-quality Maggini violin reproduction. The Maggini is a favorite of players who favor the look and feel of an antique classical violin.

The Current Octave Violin Models

• Baritone Violin, Darci Jones Model
• Baritone Violin W.S. Mount Model
• Maggini Octave Violin

Played some of the world’s great musicians

Our baritone (octave) violins and fiddles are being played by some of the finest musicians in the world, including the Swedish group Vasen, David Greenberg, Alasdair Fraser and talented and gracious Natalie Haas (one of the world's finest cellists), who has said very nice things about us and her instrument on her website. Darol Anger (father of the modern octave violin) performed with this instrument as well and says some VERY nice things about our company on his website.

Things are really getting interesting with alternative instruments of every stripe... Can you believe these amazing pocket travel violins? Believe it! these folks ( Ringholz and Rickert) are also building straight-out Octave violins... and they are wild! (Darol Anger)

Update on the Best Bow for Octave Fiddle Debate

In an earlier posts, I presented more or less a summary of what various musicians use to play octave violin or octave fiddle. In that post, I mentioned that the extraordinary 'cellist and also really good fiddler, Natalie Haas, uses a French-style 'cello bow on her octave violin. Natalie has since informed me that she is now using a violin bow. I did not ask her the characteristics of her bow, as we had other business to cover; however, I assume (i.e. if I were her), I would choose a "heavy" violin bow...actually, with some exceptions such as the the ultralight IncrediBows, ALL violin bows weigh in the 56-58 grams range. A "heavy" bow is one whose balance point is further away from the frog, so that it feels heavier and "grabs" the strings with more force.

That update being covered, I will talk about my two favorite bows for octave violin; the Glasser Braided Carbon Fiber Octagonal Viola Bow and the CodaBow Diamond Series NX Viola Bow, also a "braided" carbon fiber (meaning epoxy-saturated carbon fiber fabric wrapped around a core) bow. 

The Glasser's core, as far as I know, is proprietary or I was not paying attention when I was told. The CodaBow's core is composed of Kevlar strands. The Glasser is slightly stiffer, the octagonal shape contributing somewhat to this stiffness, as the octagonal is far stiffer than the Glasser round shaft version of the same bow, which I do not like. The CodaBow has a round shaft but it is plenty stiff, just not so much so as the Glasser.

I have to say, I love both bows. I suppose that the CodaBow feels a little bit more like a really good wooden bow, but nowhere near as bouncy. The CodaBow seems to have a bit more "pull" when a lot of two string chords are involved. The Glasser is a bit faster on melody parts.

Bottom line is that one needs both, but if I had to choose one, I would choose the CodaBow for octave violin, as most of my octave playing is chordal "second fiddle" accompaniment.

Check out our 2010 Guide to Fiddlers' Conventions and Contests

Links are on the left side of this page. We believe our list, broken down into the categories below, is the most comprehensive available. Of course, we want to know if we missed any, so let us know. We checked every single link at time of posting.

2010 Fiddlers' Conventions and Contests

• Nationally-Certified Old Time Contests
• Old Time Fiddlers' Conventions Southeastern U.S.
• Sanctioned North American Scottish Fiddle Contests

We still have to finish putting the list of Old Time Fiddlers' Conventions that are NOT in the Southeastern U.S. It is a really big list, so give us a few days.

Also, we are attempting to do a list of Irish Music Festivals and Competitions in North America, which is proving to be difficult. Any pointers to a central sanctioning organization for North American Irish music events would be much appreciated.

Email: don@donrickertdesign.com

Update on Boucher Minstrel Banjo Production Plans

Several weeks ago we announced our intent to produce banjo depicted in "The Banjo Player" by William Sidney Mount. This is probably the most famous image in the world of a banjo being played.

We have been in consultation with some of the world's experts on Minstrel banjos in general, and that depicted in the painting in particular, on the feasibility of our endeavor. We have, in the process, determined that the banjo depicted is, in fact, an actual William Boucher instrument (not just a Boucher-type), with some artistic license taken on some of the dimensions and details.

All of the above being said, we are NOT going to invest any money in producing a replica of this instrument unless there are a large number of customers ready to buy one NOW...not at some future time when "the economy improves", they win the lottery, etc.

We have to know the answers to two critical questions.

In answering, you can assume that this banjo will be meticulously authentic, be a joy to play and will sound great. You will get a high-quality print of the painting with the banjo.

The Questions:

1. Would you buy one of these replica banjos?
2. How much would you be willing to pay?

It is really hard to get people to respond to these types of queries, so here are the incentives (wish we could offer more, but times are hard for all of us.)

• Incentive 1: You support what we are trying to do to provide unique and difficult to find musical instruments
• Incentive 2: $10 in store credit at the Adventurous Muse Store (wish we could give you cash)
• Incentive 3: Responding counts as an act of generosity, which everybody should do every day.

Contact me directly. My email is don@donrickertdesign.com

Thanks in advance for your help!

Don Rickert

Comprehensive List of 2010 Old-Time and Scottish Fiddle Competions

We'll be putting the preliminary list online on Thursday.

We'll also be publishing a list of Civil War reenactments with a musical component next week.

What is Scottish F.I.R.E.?

In my last post about Nationally-Certified Old Time Fiddle competitions, I referred to Scottish F.I.R.E. Here is some information about the certifying organization.

Scottish F.I.R.E. is Scottish Fiddling Revival, Ltd., the North American association for Scottish Fiddling and all of its regional styles. (Cape Breton, Shetland, etc.)  The goals of Scottish F.I.R.E. are to preserve and promote Scottish fiddling through education, competition, and the support of aspiring and established Scottish fiddlers.One of the foremost ways Scottish FIRE helps to preserve the Scottish fiddling tradition is by fostering and sanctioning Scottish fiddle competitions.

As a non-profit organization since 1975, Scottish FIRE sets the rules and sanctions the many Scottish fiddling competitions held in the US, Canada, and other parts of North America.

Scottish FIRE also certifies judges for local and national competitions, and monitors the annual U.S. National Competition held at a sponsoring Highland Games during the Games season.

Nationally-Certified Fiddle Contests

In working on the Adventurous Muse / Old Mill Musical Instruments soon-to-be-completed guide to Fiddlers' Conventions and Scottish Fiddle Competitions, we ran across a number of events that are Nationally-Certified...so, we did a little research and here's scoop.

Only a small percentage of Fiddlers’ Conventions are certified by the National Oldtime Fiddlers’ Contest Certification and Advisory Board. While most Fiddlers’ conventions indeed have fiddle competitions, the Nationally-Certified Fiddlers’ Contests are focused primarily on the fiddle competitions rather than all of the other fun stuff that goes on, and are judged by, you guessed it, nationally certified judges.

Nationally-Certified Old Time Fiddle contests are very similar to the Scottish Fiddling Revival, Ltd (Scottish F.I.R.E., established in 1925) fiddle competitions; which are extremely rigorous, with many rules, in order to keep the competitions fair and consistent throughout North America (i.e. the U.S. and Canada).

Other than the fact that Nationally-Certified Old Time Fiddlers’ Contests tend NOT to be local popularity contests like some Fiddlers’ Conventions can be (our lips are sealed on which ones we are talking about), a fiddler can only compete in the National Old Time Fiddling Finals, held in Weiser, Idaho if he or she qualifies in a Nationally-Certified state or regional contest. Note: when I used to practice enough to actually compete, upon lamenting my mediocre ranking in a particular competition, I was told by an “insider” that the judges simply did not know me…what kind of reason is that? One argument for certified judges, for sure; however, I think that most fiddlers’ convention judges are really good at performing their VOLUNTEER (they give their time) duties with great dedication to the art and being fair.

If you want to find out more, go to the NOTFC website http://www.fiddlecontest.com/.

The Courses, Workshops, Plans and References We Currently Offer

The Adventurous Muse Store and Old Mill Musical Instruments has these courses, workshops, plans and references. There WILL be more!

Cigar Box Fiddles: About Them and How to Make Them

Most comprehensive reference available for making several different types of cigar box fiddles that are easy to play and sound great.

This book provides a general introduction to cigar box fiddles, their history, the differences between the solid wood 19th Century style fiddles and “modern” cigar box fiddles made from cheap plywood. The majority of the book deals with the actual making of two different types of cigar box fiddle, as well as a variation, a whiskey bottle box fiddle. 150 pages with over 100 illustrations.

 Link to comprehensive outline and the book cover.

PLEASE NOTE: This book is for experienced craftsmen and craftswomen with proper woodworking tools!

Common Fiddle Chords for 5-String Fiddle and Viola

Chord reference (a downloaded product) for Viola and 5-String Fiddle

This is a companion guide to our fiddle chord guide, but this one is for for practitioners of viola and 5-string fiddle who play Old Time, Irish, Scottish and other “folk” styles. There are two sets of charts, one for the standard viola (ADGC) and 5-string fiddle (EADGC) tuning; the other for a “D-tuned” C string. This practice of tuning the C string to D is more common for the 5-string fiddler than the violist. Tuning the C string to D really makes the instrument sing with sympathetic overtones, especially when playing in the keys of D and Dm, but also the keys of G, Gm and surprisingly, the key of A (D is neither the 3^rd or the 5^th of A)

Fiddle Chord Charts for Standard and Various Alternative Tunings

Fiddle chord charts are for the chords most commonly used in Old Time, Irish, Scottish and other “folk” styles of fiddling. Includes charts for A and D cross-tuning

In addition to the standard violin tuning (E-A-D-G), charts for the E-A-E-A, D-G-D-G and E-A-D-A tunings are included in the long-awaited guide.

Setting Up Your Fiddle 1860s Style (FREE)

Fiddlers: Tired of being a musical anachronism at reenactments?

All 5 parts of our free online course are available NOW: How to Set Up Your Fiddle 1860s Style (of particular interest to Civil War Reenactors). This course, brought to you by the Adventurous Muse Store, Musicians' Sutlery and Old Mill Musical Instruments is available in 5 parts on YouTube.

Using the Circle of 5ths to Form Modal Chords FREE

Free downloadable guide to using the Circle of 5ths to form fiddle chords consisting of root notes and their 5th harmony notes (called Modal Chords)

Gourd Banjo Making Workshop (contact Jeff Menzies directly jeffsbanjer@yahoo.com or 705-456-9939)

You must contact Jeff Menzies directly to register for this course (contact Jeff Menzies directly jeffsbanjer@yahoo.com or 705-456-9939).

Link to the workshop poster

Create a piece of art that sounds as beautiful as it looks!  Using a watch&do approach, noted builder/teacher Jeff Menzies will guide you step-by-step as you cut the gourd, craft the neck, and stretch the skin on your new instruments.  The workshop will include historical discussion of the banjo, and its connection to food, culture and place.  It will probably include a few jam sessions around the fire, too.   In the end, you will leave energized, having spent a week in a unique and beautiful place, with a smile on your face and your own banjo tucked under your arm.

Kevin Enoch Fretless Tradesman Banjo

The veil of secrecy has been lifted. We now carry (immediately) several banjos from the renowned maker Kevin Enoch (see his brief bio at the end). This is one of them. This model is especially suited to the mid-19th style player.

About the Fretless Tradesman Banjo

The fretless version of the "Tradesman" by Kevin Enoch is a simple Minstrel-type banjo loosely based on some of the early (1860s) Dobson banjos. They are extremely well-made with high quality materials and Kevin's legendary workmanship.The fretless neck is walnut with a separate ebony fingerboard. The neck's shape, particularly the wonderfully sculptural heal, is designed to be similar to some of the early Dobsons. These instruments, in keeping with their authentic period character, do not have truss rods (a 20th Century invention). In order to keep your beautiful neck from warping, a small graphite rod is placed under the fingerboard for reinforcement. There is no external evidence, such as a truss rod cover, to indicate its presence.

The rim of the Tradesman is maple with no tone ring and finished black, in the manner of many 19th Century banjos. The head is a REMO Renaissance. Interestingly enough, it was Dobson who obtained a patent for a banjo tone ring in 1881.

The fretless Tradesman is strung with Nylgut (imitation gut), in character with the mid-19th Century period. A scooped fingerboard is available.

Hear it!

Playing by Paul Brown, musician and radio journalist, recorded these tunes played on Enoch banjos. Paul Brown's web site: http://www.brownpaul.net/

• Tempy (1.05 MB): Tuning: f#-ADAD / Key: D / 2-finger picking
• Pretty Little Girl (1.14 MB): Tuning: a-EAC#E / Key: A / clawhammer style

A Bit More About the Fretless Tradesman Banjo

The Tradesman comes with planetary tuners. If this is an important historical authenticity issue for you, no problem...Pegheds(tm) violin-type planetary-geared tuning pegs are available as an option. Pegheds are indistinguishable from old violin-style tuning pegs with the advantage of 4:1 ratio planetary gearing hidden in the peg shaft.

The price of the "Tradesman" banjo includes a basic gig bag. Authentic Civil War oilcloth carrying bags and coffin cases are available from Old Mill Musical Instruments.

About the Maker:

Kevin Enoch, founder of Enoch instruments, has been involved in playing as well as making banjos and other stringed instruments since 1984. Enoch Instruments was formally established in 1990. Kevin's goal is to create an instrument designed for Minstrel stroke and clawhammer playing, embracing the aesthetics of the great banjo makers of the 19th and early 20th century. Kevin's love for the music, as well as his craft, is apparent in the degree of care and precision he puts into every detail of these musical masterpieces. Kevin Enoch has been praised by some of the finest banjo players on Earth: Bruce Molsky, Dirk Powell, Bob Carlin, Rafe Stefanini, Paul Brown, Gerry Milnes, Joe Newberry, and the list goes on...

Fretted Tradesman Banjo by Kevin Enoch

The veil of secrecy has been lifted. We now carry (immediately) several banjos from the renowned maker Kevin Enoch (see his brief bio at the end). This is one of them. This model is especially suited to the the early Old-Time clawhammer, as well as 2-finger and 3-finger style player.

About the Fretted Tradesman Banjo

The fretted version of the "Tradesman" banjo by Kevin Enoch is a simple "Transitional" (later 19th Century) banjo loosely based on some of the Dobson banjos. It was Dobson who introduced metal-fretted banjos in 1878. This gem, when strung with steel strings, is a really early version of an Old-Time banjo...it doesn't get any more Old-Timey than this! They are extremely well-made with high quality materials and Kevin's legendary workmanship.

The Fretted Tradesman is also suitable as a super-authentic "Classic Banjo", when strung with the optional Nylgut strings.

Don't know the difference between an Old-Time Clawhammer banjo and a Classic Banjo. Well, it's kind of like the difference between a fiddle and a violin...all in the set-up and how you play it. Classic banjos were late 19th Century and early 20th Century banjos with metal frets and gut or metal-wound silk strings. To find out more, go to either the American Banjo Fraternity or Classic Banjo site.

The fretted neck of the Tradesman Banjo is walnut with a separate ebony fingerboard. The neck's shape, particularly the wonderfully sculptural heal, is designed to be similar to some of the early Dobsons. These instruments, in keeping with their authentic period character, do not have truss rods (a 20th Century invention). In order to keep your beautiful neck from warping, a small graphite rod is placed under the fingerboard for reinforcement. There is no external evidence, such as a truss rod cover, to indicate its presence.

The rim of the Tradesman is maple with no tone ring and finished black, in the manner of many 19th Century banjos. The head is a REMO Renaissance. Interestingly enough, it was Dobson who obtained a patent for a banjo tone ring in 1881.

The fretted Tradesman comes strung with steel strings; however, it can be strung with Nylgut (imitation gut) as an option (both steel and gut strings were used in the late 19th Century and early 20th Century). A scooped fingerboard is available.

Hear it!

Playing by Paul Brown, musician and radio journalist, recorded these tunes played on Enoch banjos. Paul Brown's web site: http://www.brownpaul.net/

Fretted Tradesman Banjo, Nylgut (nylon imitation gut) Strung

Cumberland Gap (1.58 MB): Tuning: e-BEBC# / Key: E / 2-finger picking

Jimmy Sutton (1.04 MB): Tuning: f#-BF#A#C# / Key: B / clawhammer

Fretted Tradesman Steel Strung

John Riley the Shepherd (1.34 MB): Tuning: g-EADE / Key: A / 3-finger picking

Arkansas Traveller (1.17 MB): Tuning: a-DADE / Key: D / clawhammer style

A bit more about the Fretted Tradesman Banjo

The Tradesman comes with planetary tuners. If this is an important historical authenticity issue for you, no problem...Pegheds(tm) violin-type planetary-geared tuning pegs are available as an option. Pegheds are indistinguishable from old violin-style tuning pegs with the advantage of 4:1 ratio planetary gearing hidden in the peg shaft.

The price of the "Tradesman" banjo includes a basic gig bag. You may want to purchase an Old Mill wooden "coffin" case for authenticity.

About the Maker:

Kevin Enoch, founder of Enoch instruments, has been involved in playing as well as making banjos and other stringed instruments since 1984. Enoch Instruments was formally established in 1990. Kevin's goal is to create an instrument designed for Minstrel stroke and clawhammer playing, embracing the aesthetics of the great banjo makers of the 19th and early 20th century. Kevin's love for the music, as well as his craft, is apparent in the degree of care and precision he puts into every detail of these musical masterpieces. Kevin Enoch has been praised by some of the finest banjo players on Earth: Bruce Molsky, Dirk Powell, Bob Carlin, Rafe Stefanini, Paul Brown, Gerry Milnes, Joe Newberry, and the list goes on...