_Student Sample: Grade 12, Informative/Explanatory
The essay that follows was one of a portfolio of four essays submitted by a high school student for
placement in a college composition course sequence. The student had unlimited time to write and likely
received feedback and instructional support while creating the portfolio.

_
     The violin is arguably the most cherished and well-known orchestral instrument in the world. Many are
moved by its unique quality of sound; it is known as the only instrument close to the sound of a human
voice. Maybe the violin is so revered because “humans in all times and places are powerfully moved, or
threatened, by the possibility that with our hands and minds we can create something that is perfect”
(Ebert). But the sound of this instrument was not magically created overnight; the creation of the very
first violin took many years and has been a product of much experimentation. This is the reason that
every beginning violinist should learn to appreciate the art of making a violin and the process of holding
and bowing his instrument so that he will have the knowledge to play it well.

     The process of constructing a violin is an age-old tradition that has been developed and refined for
centuries. Each step is crucial to the quality of the instrument’s sound. The violin’s body consists of a
rib structure, which is made from six thin maple ribs that are bent to shape by applying dry heat. The
ribs are reinforced at the joints by wood blocks that are located in each of the four outward curving
corners, one at the top rib, and one at the lower rib. To reinforce the glue-joints between the ribs and
the table and back of the violin, strips of willow or pine are glued along the inside edges of the ribs to
create the lining. The back plate of the violin is made from either one or two matched pieces of maple.
The wood chosen for these pieces is very important and affects the sound production of the violin. The
outline of the plate is drawn onto the maple and sawn out, and the arching (the outward bulge) is then
painstakingly carved to a thickness of about five millimeters. The front plate of the violin, or table, has
two soundholes carved from it on either side of the bridge. These soundholes are [shaped like the letter
f] and are made to project the sound. Purfling is done by inlaying thin strips of wood around the top
and back of the violin a short distance from the rim. Purfling strengthens the delicate edgework and
produces a beautiful frame around the instrument’s outline (Gusset).

     The bridge is cut from a thin sliver of maple. Intricate shapes are carved from it, known as the “heart,”
“ears,” and the two “feet” that allow it to stand on the violin table. The bridge is placed directly between
the small nicks cut in the middle of each [soundhole]. The top of the bridge is curved to conform to the
arch of the violin table, which allows the player to play each string individually (Skinner). The bridge is
held onto the instrument by as much as seventeen pounds of pressure exerted from the four strings,
which makes it a very delicate piece that must be checked periodically for leaning or warping. A bassbar
is fitted to the underside of the table underneath the left foot of the bridge. Underneath the right
foot of the bridge, a soundpost is wedged between the front and back panel. The soundpost is made of
spruce or pine and resists the downward pressure of the strings and improves the sound.

     A neck is fitted to the top rib and is made to hold the fingerboard above the table. The fingerboard is
a piece of ebony that extends beyond the neck and gradually widens towards the bridge. At the top of
the neck is a pegbox that has holes drilled into each side in which the pegs are held. The pegs are used
for a wide range of tuning. The pegbox slopes slightly backwards, which tensions the strings across the
ebony nut at the top of the fingerboard and keeps them raised above the fingerboard. At the top of the
pegbox is a scroll, added during the baroque period as an artistic flourish to provide an aesthetic touch
to its already pleasing appearance (Vienna Online Magazine). The strings are wrapped around the pegs,
stretched across the bridge, and held by an ebony or boxwood tailpiece. Anywhere from one to four fine
tuners can be attached to the tailpiece; these are used to tighten or loosen the string to change its pitch
for fine-tuning. The tailpiece is held into place by a loop of gut or nylon that is wrapped around an ebony
end button located in the middle of the bottom rib.

     After gluing is done, the violin must be exposed to air and sun for several days to a few weeks to darken
the wood through the process of oxidation (Gusset). A protective varnish is brushed onto the surface of
the violin, which has a slight dampening effect to the sound, but it is primarily used to protect the wood
from perspiration, dust, dirt, and humidity (Kolneder 21). “The classical Italian makers appear to have
used different formulations for the ground coat, which seals and protects the wood and does much to
bring out its natural beauty, and the top coats, which were tinted with rich red, yellow and golden-brown
colours . . . Recent research suggests that walnut or linseed oil may have been an important constituent
of the finest old Italian varnish, later supplanted by recipes based on shellac and alcohol” (Stowell 5).
Both the construction of the violin and the way it is played are equally important to its sound
production. This is very critical to learn early so that a bad habit does not need correcting later on.
The modern violin is held between the chin and the left shoulder, with the scroll angling towards the
left. Violin teachers will have varying ideas of the correct position to hold a violin, but many great
violinists have held their instruments in different ways and have been successful. Some will hold a violin
directly under the chin, and others believe that the highest position on the shoulder is best. A chinrest
is usually attached to the left side of the tailpiece to make it more comfortable for the violinist to hold.
Sometimes a shoulder rest can be attached to the back of the violin which can be taken off after playing.
The shoulder rest can be made of various materials and provides height and padding to the violinist’s
shoulder.

     The left hand gently moves along the neck and fingerboard of the violin. The left fingers press down
upon the string, shortening its length, which creates a higher pitch. The right hand holds the bow, which
consists of a long stick of wood and a gathering of horsehair stretched from one end of the bow to
the other. “In the bowing area, two C-shaped indentations (the waist) accommodate the bow’s motion
across the strings” (Kolneder 13). The four strings can be bowed with the horsehair, plucked, or bounced
with the stick of the bow to produce vastly different colors of sound. “Bowing across the string is the
normal manner of tone production, but the process is actually extremely complicated and in its most
minute details not yet entirely understood . . . The strings’ basic pitch depends on its length, thickness,
material . . . and tension. These factors determine the frequency, that is, the number of vibrations . . . per
second” (Kolneder 16). The bow must be rosined frequently to allow the strings to vibrate to create the
fullest sound.

     Even if a luthier, or stringed instrument maker, takes years to complete a violin, it can only produce its
best sound if every step of its construction and every piece is made with is of the best quality. The same
is true of the time needed for a musician to play the violin well. A player must learn that what counts is
not how much time is spent practicing, but the quality of practice. A private teacher is also required, so
proper instruction will be given. A musician must also fully understand and appreciate the skill required
for constructing a violin. Not until then will a violinist be able to use his knowledge to bring forth their
instrument’s fullest and most beautiful sound.

WORKS CITED
Ebert, Roger. “The Red Violin.” Chicago Sun-Times. 7 Dec. 2003 <http://www.suntimes.com/ ebert/
ebert_reviews/1999/06/061802.html>.
Gusset, Dave. “Early History of the Violin.” Gusset Violins. 11 Nov. 2003 <http://gussetvi-olins.com/
newhome.htm.>.
Kolneder, Waltner. Pauly, Reinhard G., ed. The Amadeus Book of the Violin. Portland, Oregon: Amadeus
Press, 1998.
Skinner, Matthew. “Facts about the Violin.” Matthew Skinner’s Home Page. 4 Nov. 2003 <http://www.
nelson.planet.org.nz/~matthew/artmidea.html>.
Stowell, Robin, ed. The Cambridge Companion to the Violin. New York: Press Syndicate of the University
of Cambridge, 1992.