A Strad Inspired Violin - Log 11/23/2009

Monday, November 23, 2009


Carving the Scroll

The basic shapes of the neck and scroll were laid out in pencil using measurement and tracing rubbed on to the surface of the block of wood. The tracing was done from an accurate full size photo. The use of the tracing and rubbing techniques result in more accurate dimensions than use of a template. Using a band saw the shapes are cut out. The basic shape after sawing and tracing are shown in the photo below.

Before further carving of the scroll and peg box the center line must be determined, scribed very lightly and penciled onto the wood. Below Ben scribes the line.

Below, again using the photo from the Strad Medici as an accurate basis, dividers set at 26mm are used to mark the maximum width of the scroll around the center line and lines are applied in pencil.

In the next photo the shape of the back side of the scroll is clearly visible in pencil.

Below the lines of the peg box, top of the front, and treble side of the scroll are shown.

Next we can see the saw and saw cuts made on the bass side of the peg box and scroll and are perpendicular to the side. The wood has been clamped to the work table for greater ease of carving. These cuts are sawed down to the outside pencil line. This will also be done to the opposite/treble side once this side is carved.

Then the process of chiseling away the unneeded mass of the wood block begins.

Below the bass side of the peg box has been carved.

Using the sawing technique cuts are made tangential to curves around the lower spiral of the scroll. However these cuts are not an exact 90 degrees. Since Strad scrolls tend to be some of the closest ones to 90 degrees he will do that later in the finishing.

The process of chiseling begins.

Ben has unclamped the wood block and will hold it in his hand to allow more control to the finer cuts with gouges, chisels, and files.

Here having chiseled the rough shape Ben refines it with a file.

Ben shows the block as initially carved on the bass side. He observed that he was taught in school to finish the scroll in steps with each step completely finished before moving on to the next. However, he tends to work in a somewhat less methodical process working on it keeping in mind the whole piece rather than individual parts.

Before proceeding further with carving of the scroll Ben has measured and marked the points at which he will drill the peg holes. Although it is traditional to do otherwise, he prefers to drill these pilots hole early on before mass has been removed from the peg box. In his opinion there is less chance of splitting or splintering of the holes using this approach. There is a total distance of 52mm from top to bottom of the peg box. The holes have to be positioned so that when the pegs and strings are in place no strings rub across other pegs.

Below the pilot holes for the pegs are drilled using the drill press.

A Strad Inspired Violin - Log 11/10/2009

Tuesday, November 10, 2009
The Dedication

A few weeks ago I spoke to Ben regarding dedicating my new violin to my long time childhood violin teacher, Dr. Samuel W. Siurua. We agreed that his name should be written on Ben's violin label. Because Ben had lost his original label file due to his computer failing, I volunteered to create a new file to Ben's specifications. This I did as a personal contribution to completion of this violin.

To the left Ben is cutting the new labels which he printed from my file on to a copper acid free parchment paper. The border motif was produced as Ben specified by scanning a copy of a Petrus Guarnerius of Venice label. The script, I selected to match as closely as possible that which Ben had originally used. It was 96 point Arabic typeset which I inserted and then reduced when the label was re sized to fit 10 labels per page.

Here is the label after Ben has written "To: Samuel W. Siurua" and positioned it roughly where it is to be glued.

Ben applies the glue.

The label is now glued in place, positioned so that it can be seen through the Bass side F hole after the top has been glued in place.

I drove up to Robin Run Village with these photos and uploaded them to my laptop for Sam to see the same afternoon. I told Sam that I was giving him naming rights to the violin since it was being dedicated to him. We discussed several options but rather than choosing one that included his name he settled on the expression that he had told me he used to refer to his violin teacher at at Chicago Musical College, Paul Stassevitch. Sam of course has always been a modest person so I could understand his reluctance to call it Samuel or Siurua or a variation thereof. However, I fully understand his reasoning in selecting the expression "The Saint". To Sam this choice recognizes the genius of Paul Stassevitch as both a teacher and violinist. Paul Stassevitch taught many wonderful violinists and chamber musicians including the great violinist, Ruggiero Ricci.

Paul was himself a student of the famous Hungarian violinist, Leopold Auer, who taught early on as head of the violin department at the St Petersburg Conservatory and later at the Curtis Institute having as pupils over the years such violin greats as Jascha Heifetz, Efrem Zimbalist and Mischa Elman.

The violin will symbolically carry on the line of a kindly, understanding, and nonjudgmental interpersonal style that inspired both Sam in teaching and through Sam me in my career as a human services professional.

Sam and I agree this name recognizes and honors him and his teaching approach. When I pass the violin down to another person who loves the violin, hopefully, it will inspire in them love for music and the violin whether or not it remains in my family with a grand niece or goes outside of it.

I called Ben after meeting with Sam and asked him to write the Expression "The Saint" inside the violin in a position that could be seen. He agreed.

The next major step will be carving of the neck and scroll from the block of maple pictured here to the left.

A Strad Inspired Violin - Log 11/5/2009

Thursday, November 5, 2009
Shaping the Spruce Bass Bar

Prior to today's work session Ben completed graduation of the maple back as well as selected a piece of spruce comparable to that of the top for the bass bar and fitted and glued it to the top.

The bass bar supports the bass of the violin top. It is not intended to add mass but rather to provide length wise strength/stiffness to the top and support the bass side foot of the bridge. The treble side of the bridge is of course supported by the sound post. When the bass bar is finished the tap tone of the top is normally F to F#. The length of the bass bar is fitted to the individual instrument and usually will be about 40mm shorter on each end than the violin.

The rough shaped spruce bass bar as clamped and glued to the top

Here Ben begins the planing to shape the bass bar.

At this point Ben checks the rough height of the bass bar which will be planed down to about 14mm in the center.

Using dividers the bass bar is marked into 4 equal parts on each side of the center point.

On the left is a photo of Ben's notes showing the diagram of the the segments and the height he will plan to at each marked point. The bar is shaped into a beautiful symmetrical somewhat bell shaped curve with the center point being a maximum of 14mm gradually sloping downward to heights of 12.8mm, 10.2mm, 7.6mm, and at the very end 5mm.

Ben checks height measurements at each point as he shapes the bar.

Here Ben uses a finger plane to shape the downward slope at the bottom of the bar.

At this point the basic symmetrical curve is complete.

Now Ben is shaping the bar itself into a rounded top ( almost dowel like) with somewhat angled sides giving it a somewhat parabolic shape.

Here you can see the completed bass bar with the slight angled cut to the end of it.

A Strad Inspired Violin - Log 10/23/2009

Friday, October 23, 2009

A Recital to Honor Dr. Samuel Wasson Siurua

Yesterday, Donna Lively Clark, Ruth Colbert, Dr. Lee H. Jones, Susy Smith Watt and I presented a recital in the lobby of the Robin Run Village apartment tower. The performance was honoring our much beloved and admired friend, music mentor and (for three of us) childhood instrumental teacher.

The program shown to the left details the billing which lasted approximately an hour. It began with an adaptation of the Jean Sibelius, Finlandia Hymn. This particular piece was chosen to recognize and celebrate Dr. Siurua's Finnish family ancestry. The program concluded with a flawless performance of Piazzolla's Tango Etude No. 4 and Bach's Sarabande from Suite No. 1 played on unaccompanied viola by Donna Lively Clark.

To the left is Dr. Siurua with Donna Lively Clark, his very accomplished former pupil on viola.

Here Donna is shown in the center performing the Tango Etude. To the left side is Dr. Siurua and standing behind slightly to the left of the piano in front of the door is Dr. Lee H. Jones. Susy Watt is looking on seated directly behind the piano. Susy and Lee performed a lovely Cambini duet on bassoon and cello.

After the recital friends and guests gathered in the Main Street Lounge for refreshments.

Among those attending the recital and/or reception in addition to the performers were Neil S. Handley, Diantha Degraw, Beth Lawrence, Betty and Daniel Tiebert, Joie Kipka, Dr. Robert Rudesill, Randy Russell, Ruth Lively Barker, Ann Crider, John Colbert, Catherine Norman, Bill (Liam) and Becky Smith, Charles Hewitt, Dotti Gerner, Dr. Sue Cardwell and Pat Thorlston.

Dr. Siurua had missed the Athenaeum Pops Orchestra concert at Robin Run the previous Friday where two lifetime recognition certificates were awarded to him for his work in music education and performance in the Indianapolis Philharmonic Orchestra. Therefore, Dr. Lee H. Jones did the honors presenting them to him in person before his gathered friends.

A Strad Inspired Violin - Log 10/21/2009

Wednesday, October 21, 2009

Images After Refinements to the Top and Back

Ben called me to let me know he had finished the spruce top with both F holes complete. Further he had not been completely satisfied with the maple back arching and had therefore made refinements to it prior to starting on the its interior carving and gradation.

To the left is the completed top with both bass and treble side F holes finished.

In this photo the gorgeous flamed maple grain is now revealed much as it will appear in the finished violin.

This photo more clearly shows the finished top arching from the treble side.

A Strad Inspired Violin - Log 10/15/2009

Thursday, October 15, 2009


Carving the Inside of the Spruce Top to Graduate the Thickness
And Cutting the F Holes




To the right is shown the drill press with dowel stop used in drilling the pilot holes for carving the inside of the top and back of the violin. The press is set with a guage to 4mm.


In this photo carving of the top has begun using a finger plane and pilot holes guiding the graduation process are visible.


Here further progress has been made in planing the inside down to the 4 mm thickness. Ultimately the top thickness will vary from approximately 2.4 mm to 3.5 mm depending on the location and flexibility of the particular piece of wood being used.


Here you can see significant carving has been done.


Ben checks the graduation with calipers before going further.

The top is seen to the left with the F Holes drawn with a template as shown in a previous update. Now that cutting must begin further measurements will be done.

To the left is a modern hole cutting tool which at least in theory is believed to be like that used by Cremonese luthiers. Shown are the 9.5 mm diameter blade for the bottom eyes and the 6.5 mm blade for the two upper eyes.

Here Ben is using a circle template to aid in locating the center point of each eye.

The small depression Ben is pressing into the wood at the center point is the guide for the hole cutter tool.

Here the initial cut begins normally first from the outside of the top and then from the inside to ensure a clean cut with no splintering. When cut cleanly from both sides the circular pellet comes loose fairly easily.

Here Ben shows the angle at which the holes are drilled which is not perpendicular to the horizontal plane. The hole being cut is the upper treble side hole which is usually cut slightly higher than the bass one. The two upper eyes are cut symmetrically with the center line, 42 mm apart.

To the left is an original Stradavari template for the eyes of the F holes.

The Cremonese templates for the F holes had only the curved part as shown to the left because the curves and eyes were cut separately.

Here the top is pictured with all four eyes cut.

Ben has inserted the fret or coping saw and has made the initial cut starting at the lower eye cutting the inside line first to ensure maximum support on the wing and crucial areas.

This method minimizes vibration and allows for a cleaner cut.

Here an F Hole initial cut is complete but further refinement will be needed.