The violin, sometimes called a fiddle, is a wooden string instrument and the smallest, highest-pitched member of the violin family. Smaller violin-like instruments, such as the violino piccolo and pochette, exist but are rarely used. Most violins have a hollow wooden body and four strings (sometimes five), typically tuned in perfect fifths to the notes G3, D4, A4, and E5. They are usually played by drawing a bow across the strings. The violin can also be played by plucking the strings with fingers (pizzicato) or, in special cases, by striking the strings with the wooden side of the bow (col legno).

The violin is used in many types of music. It is especially important in Western classical music, both in groups (such as chamber ensembles and orchestras) and as a solo instrument. It is also used in folk music, including country, bluegrass, and jazz. Electric violins with solid bodies and piezoelectric pickups are used in some rock and jazz fusion music. These violins connect to amplifiers and speakers to produce sound. The violin is also used in non-Western music traditions, such as Indian and Iranian music. The term "fiddle" is often used regardless of the music style played on it.

The violin was first made in 16th-century Italy, with further changes in the 18th and 19th centuries to improve its sound and projection. In Europe, it helped develop other string instruments, such as the viola.

Violinists and collectors highly value historical violins made by famous families, including Stradivari, Guarneri, Guadagnini, and Amati, from the 16th to 18th centuries in Brescia and Cremona, Italy, and by Jacob Stainer in Austria. These instruments are known for their exceptional sound quality, though some experts disagree about whether this quality can be fully explained or matched. Many violins were made by less famous artisans, and even more were produced in large numbers by commercial makers in places like Saxony, Bohemia, and Mirecourt. Some of these were sold by companies such as Sears, Roebuck and Co.

Violin parts are usually made from different types of wood. Strings can be made from gut, synthetic materials, or steel. A person who makes or repairs violins is called a luthier or violinmaker. A person who makes or repairs bows is called an archetier or bowmaker.

Etymology

The word "violin" was first used in English in the 1570s. It comes from the Italian word "violino," which is a smaller version of "viola." The term "viola" originated in 1797 as a name for the "tenor violin." This word comes from Italian and Old Provençal "viola," which traces back to Medieval Latin "vitula," meaning "stringed instrument." The name may be linked to Vitula, a Roman goddess of joy, or to the Latin verb "vitulari," meaning "to cry out in joy or exaltation." The term "viola da gamba," meaning "bass viol," appeared in 1724. It comes from Italian, meaning "a viola for the leg" (to hold between the legs). A violin is the modern version of the smaller, medieval "viola da braccio" ("arm viola").

The violin is often called a "fiddle." The word "fiddle" is commonly used for the instrument in folk music or as an informal name in other music styles. "Fiddle" first appeared in English in the late 14th century. It comes from Old English "fiðele," which is related to Old Norse "fiðla," Middle Dutch "vedele," Dutch "vedel," Old High German "fidula," and German "Fiedel," all meaning "fiddle." The origin of "fiddle" is uncertain, but one common idea is that it comes from Medieval Latin "vitula."

History

The earliest stringed instruments were mostly plucked, like the Greek lyre. Two-stringed, bowed instruments, played upright and strung with horsehair, may have come from nomadic people who rode horses in Central Asia. These early instruments were similar to the modern Mongolian Morin huur and the Kazakh Kobyz. These instruments likely spread along east-west trading routes from Asia to the Middle East and the Byzantine Empire.

The rebec, fiddle, and lira da braccio are generally considered ancestors of the violin. Some sources suggest other possibilities, such as northern or western Europe. Early violin makers probably borrowed ideas from the Byzantine lyra, including the vielle (also called the fidel or viuola) and the lira da braccio. The violin in its modern form appeared in northern Italy in the early 16th century. The first pictures of violins, which had three strings, appeared in northern Italy around 1530, at the same time that the words "violino" and "vyollon" were used in Italian and French documents. One of the earliest descriptions of the violin, including its tuning, is found in the Epitome musical by Jambe de Fer, published in Lyon in 1556.

The violin became popular among both street musicians and nobility. In 1560, French king Charles IX ordered Andrea Amati to make 24 violins for him. One of these, called the Charles IX, is the oldest surviving violin. It is now in the Ashmolean Museum in Oxford. The finest Renaissance violin, the Gasparo da Salò (c. 1574), was owned by Ferdinand II, Archduke of Austria, and later by Norwegian musician Ole Bull, who used it for thousands of concerts. Another famous violin, "The Messiah" (or "Le Messie") made by Antonio Stradivari in 1716, remains in excellent condition and is also in the Ashmolean Museum.

Important violin makers (luthiers) between the 16th and 18th centuries include:

• The school of Brescia: Active from the late 14th century, this group made liras, violettas, and violas. Key families include the Dalla Corna (1510–1560), Micheli (1530–1615), Inverardi (1550–1580), Gasparo da Salò (1530–1615), and Giovanni Paolo Maggini (student of Gasparo da Salò, 1600–1630). The Rogeri family was active 1661–1721.
• The school of Cremona: Active from the second half of the 16th century, this group included the Amati family (1550–1740), Guarneri family (1626–1744), Stradivari family (1644–1737), Rugeri family (1650–1740), and Carlo Bergonzi (1683–1747).
• The school of Venice: Many violin makers worked here from the early 16th century. Notable families include the Linarolo (1505–1640), Goffriller (1685–1742), Pietro Guarneri (1717–1762), Montagnana (circa 1700–1750), and Santo Serafin (before 1741–1776).

In the 18th century, violin construction changed. The neck became longer and angled more toward the back of the instrument. Strings and the bass bar also became heavier. Most old violins have been modified, so they are now different from when they were first made. These changes likely affect how they sound and respond. However, their current condition sets the standard for perfect violin craftsmanship, and makers worldwide try to match this ideal.

Today, violins from the "Golden Age" of violin making, especially those made by Stradivari, Guarneri del Gesù, and Montagnana, are highly valued. The highest price ever paid for a Stradivari violin was £9.8 million (US$15.9 million at the time) when the "Lady Blunt" was sold by Tarisio Auctions in an online auction on June 20, 2011.

Construction and mechanics

A violin has several parts, including a spruce top (also called the soundboard, top plate, table, or belly), maple ribs and back, two endblocks, a neck, a bridge, a soundpost, four strings, and various fittings. A chinrest may be added, attached directly over or to the left of the tailpiece. The body of a violin has an hourglass shape and curved top and back. This shape includes two upper bouts, two lower bouts, and two concave C-bouts at the waist, which allow space for the bow. The sound of a violin depends on its shape, the wood used, the thickness of the top and back, the varnish, and the skill of the luthier (maker). As the violin ages, the varnish and wood often improve, making old violins made by famous luthiers highly valued.

Most glued joints in a violin use animal hide glue instead of common white glue. Hide glue creates thinner joints and can be reversed by cracking it with force or using hot water. It also allows repairs to keep more of the original wood, unlike modern glues, which require removing old glue and some wood. Weaker glue is used for parts like the top attached to the ribs and the nut attached to the fingerboard because these parts are often removed during repairs. The purfling, a decorative strip around the edge of the spruce top, helps prevent cracks and allows the top to flex independently. Painted fake purfling is a sign of a lower-quality instrument. The back and ribs are usually made of maple with a striped pattern called flame, fiddleback, or tiger stripe.

The neck is often maple with a flamed figure that matches the ribs and back. The fingerboard is usually made of ebony, a hard and durable wood, though cheaper instruments may use other woods painted black. The fingerboard has a curved shape and a slight concave curve, especially for lower strings. Some older violins have a grafted scroll, shown by a glue joint between the pegbox and neck. Many old violins have their necks adjusted to fit modern standards.

The bridge is a carved piece of maple that holds the strings and transfers their vibrations to the body. It keeps the strings at the correct height above the fingerboard. The soundpost, also called the soul post, fits inside the violin between the top and back, supporting the bridge and affecting how the instrument vibrates.

The tailpiece holds the strings at the lower part of the violin using a tailgut that loops around an ebony button called the tailpin. The E string often has a fine tuning lever for small pitch adjustments. Fine tuners may also be used on other strings, especially on student instruments. The strings wind around wooden tuning pegs in the pegbox, held in place by friction. Strings can be made of metal, gut, or synthetic materials. They are wrapped with colored silk at both ends to identify them and increase friction with the pegs.

Historically, strings were made of sheep gut, called catgut (though not from cats), which was stretched and twisted. In the early 20th century, strings were made of gut or steel. Modern strings may be gut, steel, or synthetic materials like perlon, sometimes covered with metal or silver. Most E strings are unwound. Gut strings are less common now but are used for specific sounds in Baroque music. Strings need to be replaced when they become dirty, corroded, or lose their tone.

A violin is tuned in fifths to the notes G3, D4, A4, and E5. The lowest note is G3, though sometimes the lowest string is tuned lower. The highest note depends on the violinist's skill and the instrument's size. Notes as high as E7 are practical for orchestral music, but even higher notes can be played using techniques like artificial harmonics.

The shape of the violin, the thickness of the wood, and the wood's properties affect the sound. Luthiers sometimes use sand or glitter on vibrating plates to study patterns called Chladni patterns, which help them check their work.

Violins come in different sizes, such as 4/4 (full size), 3/4, 1/2, 1/4, and smaller. These sizes are not exact fractions of the full size. For example, a 3/4 violin is not three-quarters the length of a full-size violin. The body length of a full-size violin is about 356 mm, while a 3/4 violin is about 335 mm. Smaller violins are used by young players with smaller hands. The viola, a related instrument, is measured in inches or centimeters instead of fractional sizes. A full-size viola is about 40 cm long.

Tuning

Violins are tuned by turning the pegs in the pegbox at the top of the violin or by adjusting the fine tuner screws at the tailpiece. All violins have pegs; fine tuners (also called fine adjusters) are optional. Most fine tuners have a metal screw that moves a lever attached to the string end. They allow very small changes to the pitch more easily than the pegs. Turning a fine tuner clockwise makes the pitch sharper (because the string is tighter), and turning it counterclockwise makes the pitch flatter (because the string is looser). Fine tuners on all four strings are helpful when using strings with a steel core, and some players use them with synthetic strings. Since modern E strings are made of steel, a fine tuner is nearly always used for that string. Fine tuners are not used with gut strings, which are more flexible than steel or synthetic strings and do not respond well to the tiny movements of fine tuners.

To tune a violin, the A string is first set to a standard pitch (usually A=440 Hz). When playing with fixed-pitch instruments like a piano or accordion, the violin is tuned to match those instruments. The oboe is often used to tune orchestras because its sound is clear and can be heard over other instruments. The other strings are then tuned to each other in perfect fifths by bowing them in pairs. Sometimes, a slightly higher tuning is used for solo playing to create a brighter sound; for Baroque music, lower tunings are sometimes used to make the violin sound gentler. After tuning, the bridge should be checked to ensure it is straight and centered between the inner edges of the f-holes. A crooked bridge can affect the sound of a well-made violin.

Over time, the tuning pegs and their holes can wear down, making the pegs more likely to slip. A slipping peg causes the string’s pitch to drop or, if the peg becomes loose, the string may lose all tension. A violin with slipping pegs needs repair by a luthier or violin repairperson. Using peg dope or peg compound regularly can slow wear and help pegs turn smoothly.

The standard tuning for most violin music, including classical, jazz, and folk, is G–D–A–E. Other tunings are sometimes used. For example, the G string may be tuned up to A. In classical music, using nonstandard tunings is called scordatura. In some folk styles, it is called cross tuning. One example is Camille Saint-Saëns’ Danse Macabre, where the E string is tuned down to E♭ for an eerie sound. Other examples include Béla Bartók’s Contrasts, where the E string is tuned down to E♭ and the G string to G♯, Paganini’s First Violin Concerto, where all strings are tuned a semitone higher, and Biber’s Mystery Sonatas, where each movement uses different scordatura tunings.

In Indian classical and light music, violins are often tuned to D♯–A♯–D♯–A♯ in the South Indian style. Since Indian classical music does not use absolute pitch, musicians can choose any tuning that maintains the correct relative intervals between strings. Another common tuning is B♭–F–B♭–F, which matches Sa–Pa–Sa–Pa in the Carnatic style. In the North Indian Hindustani style, the tuning is usually Pa–Sa–Pa–Sa, such as F–B♭–F–B♭. In Iranian classical music, violins are tuned differently in each Dastgah. For example, in Dastgāh-e Esfahan, the tuning is E–A–E–A, and in Dastgāh-e Šur, it may be E–A–D–E or E–A–E–E. In Dastgāh-e Māhur, the tuning is E–A–D–A. In Arabic classical music, the A and E strings are lowered by a whole step (G–D–G–D) to make it easier to play Arabic maqams, especially those with quarter tones.

Most violins have four strings, but some have more, with up to seven strings. Seven is usually the maximum number of strings practical on a bowed instrument, as more than seven would make it hard to play individual inner strings. Seven-string violins are rare. Extra strings are usually lower in pitch than the G string and are often tuned (from highest to lowest) to C, F, and B♭. If the instrument’s playing length (from nut to bridge) is the same as a standard violin (a bit less than 13 inches or 33 cm), it is called a violin. Some instruments are longer and should be called violas. Five-string or more violins are often used in jazz or folk music. Some custom-made violins have extra strings that are not bowed but vibrate sympathetically with the played strings.

Bows

A violin is played with a bow made of a stick and a ribbon of horsehair stretched between the tip and the frog (or nut, or heel) at each end. A standard violin bow is about 75 cm (30 inches) long and weighs approximately 60 grams (2.1 ounces). A viola bow is usually about 5 mm (0.20 inches) shorter and 10 grams (0.35 ounces) heavier. At the frog end, a screw adjusts the tightness of the horsehair. Just in front of the frog, a leather thumb cushion (called the grip) and a winding protect the stick and help the player hold it securely. Traditional windings are made of wire (often silver or silver-plated), silk, or baleen (whalebone, now replaced by alternating tan and black plastic strips). Some student bows made of fiberglass use a plastic sleeve for both the grip and winding.

The horsehair used for bow hair typically comes from the tail of a grey male horse, which has mostly white hair. Cheaper bows may use synthetic fibers instead. Solid rosin is applied to the hair to make it slightly sticky. When the bow is moved across a string, the friction causes the string to vibrate. Expensive bow sticks are traditionally made from snakewood or brazilwood (also called Pernambuco wood). Recent designs sometimes use carbon fiber (CodaBows) for the stick, regardless of the bow's cost. Inexpensive student bows are often made from less costly woods or fiberglass (Glasser).

Playing

The violin is played while sitting or standing. Solo musicians (those playing alone, with a piano, or with an orchestra) usually stand to play, unless they have a physical disability, such as Itzhak Perlman. In contrast, violinists in an orchestra or chamber music group typically sit. In the 2000s and 2010s, some orchestras that perform Baroque music, like the Freiburg Baroque Orchestra, had all their violinists and violists stand during performances.

The standard way to hold a violin is by resting the left side of the jaw on the chinrest and supporting the instrument with the left shoulder, often with the help of a shoulder rest. Younger players may use a sponge and elastic band instead. The jaw and shoulder must hold the violin firmly so it stays steady when the left hand moves between high and low positions on the fingerboard. In the Indian posture, the violin’s scroll rests on the side of the foot to keep it stable.

Teachers emphasize the importance of good posture to improve playing quality and reduce injury risk. While advice on achieving good posture varies, all agree that the body should remain relaxed and natural. Common recommendations include keeping the left wrist straight to allow free finger movement and avoiding raising the shoulders too high. Tension or stiffness can limit movement and increase injury risk.

Hunching can harm playing by throwing the body out of balance and raising the shoulders. Pain in the left hand may indicate too much pressure when holding the violin.

The left hand controls the pitch of the strings by pressing them against the fingerboard. Unlike a guitar, which has frets, the violin has no frets, so players must place their fingers precisely for correct intonation. Beginners start by playing open strings and the lowest positions near the nut. They often learn in simple keys like A Major and G Major, practicing scales and melodies. Over time, they develop muscle memory to find notes intuitively through practice and ear training.

New players sometimes use tapes on the fingerboard to guide finger placement, but they usually stop using them as they improve. Another method is marking the fingerboard with white-out dots, which fade after weeks of practice. However, relying on these tools instead of ear training can be a problem. "Ringing tones" are helpful for checking intonation. These occur when a stopped note matches an open string, creating a harmonious sound. For example, pressing the "A" on the G string and playing the open D string together can confirm if the "A" is in tune.

Violins are tuned in perfect fifths, like other string instruments except the double bass, which uses perfect fourths. When playing alone, violinists often use the Pythagorean scale, which creates harmonious sounds. In ensembles like string quartets, players adjust their tuning to match the key they are playing in. When playing with a piano (tuned to equal temperament), violinists also adjust their tuning to avoid dissonance.

Fingers on the left hand are numbered 1 (index) through 4 (little finger) in music notation. Open strings are marked with 0 or O. A chart shows the notes reachable in first position, where most beginners start. As fingers move up the neck, the spacing between notes becomes closer. The bars on the chart represent common tape placements for beginners.

The left hand’s position on the fingerboard is divided into "positions." First position, where beginners often start, is the most common in string music. The lowest note in first position is an open G3, and the highest is a B5 on the E-string. Moving the hand up the neck shifts the player into second, third, and higher positions. A "shift" is the movement between positions, and maintaining accurate intonation and smooth sound during shifts is a key skill. A "guide finger" may be used to help find the correct position during a shift.

In low positions, the left thumb moves with the fingers to stay in the same relative place on the neck. In high positions, the thumb remains near the neck-body junction while the fingers move. A note played outside a position’s range without shifting is called an "extension." For example, stretching the first finger back or the fourth finger forward in third position creates an extension. Extensions are used when one or two notes slightly extend a position.

Musical styles

The violin has been an important instrument in classical music since the Baroque era. Its clear and strong sound makes it ideal for playing the main melody. Skilled players can move their fingers quickly and play difficult musical passages.

In an orchestra, violins are often divided into two groups: first violins and second violins. First violins usually play the main melody, which is often more challenging and uses higher notes. Second violins typically play harmony or support the melody by playing it an octave lower. A string quartet also includes first and second violins, a viola, and a bass instrument like the cello or double bass.

The violin was first used as a solo instrument in jazz performances in the early 20th century. Joe Venuti, a famous early jazz violinist, worked with guitarist Eddie Lang in the 1920s. Many other musicians, such as Stéphane Grappelli and Regina Carter, later played jazz violin. Some musicians, like Darol Anger and Mark O’Connor, also played jazz violin, though they are not primarily known for it. The Swiss-Cuban musician Yilian Cañizares combines jazz with Cuban music.

Violins are often used in ensembles to provide background music for jazz recordings.

The Indian violin is similar to the Western violin but has different tuning. On the Indian violin, the G and D strings (third and fourth strings) and the A and E strings (second and first strings) are tuned to create specific musical intervals. The tuning can change depending on the vocalist or lead player. In Indian music, the violin is held differently: the musician sits cross-legged with the scroll resting on their foot. This position helps with playing, as the left hand can move freely across the fingerboard.

During the 1920s and 1930s, bowed string sections were common in popular music. They were used in big band music during the swing era (1935–1945) to add fullness to the sound. In the 1960s, strings were used more often in soul music. Motown recordings from the 1960s and 1970s often included strings as part of their sound.

In the 1980s, electronic music replaced some violin use, as synthesizers could mimic string sounds. However, violins are still used in some rock and jazz fusion bands, such as The Corrs.

In the late 20th century, crossover music brought violins back into popular music. Bands like Dave Matthews Band and Arcade Fire use violins in their music. Independent artists, such as Owen Pallett and Lindsey Stirling, also use violins in creative ways.

The violin has roots in folk music and evolved during the Renaissance in Italy. It became popular in both classical and folk music, replacing older bowed instruments in many regions.

When used in folk music, the violin is often called a fiddle. Fiddle music is usually dance music and uses techniques like droning and ornamentation. Many folk tunes are passed down through generations without being written down. Some fiddlers use special tunings or adjust their instruments to make certain techniques easier.

The violin is also used in Arabic music, alongside the Arabic rababah.

Electric violins

Electric violins use a magnetic or piezoelectric pickup to change the vibrations of the strings into an electric signal. A patch cable or wireless transmitter sends this signal to an amplifier or PA system. Electric violins are usually made this way, but a pickup can also be added to a regular acoustic violin. An electric violin with a resonating body that can produce sound without needing electric parts is called an electro-acoustic violin. To work like an acoustic violin, electro-acoustic violins keep most of the resonating body of a traditional violin and often look similar to acoustic violins or fiddles. The body may be painted in bright colors and made from materials other than wood. These violins may need to connect to an instrument amplifier or PA system. Some models include a silent option that lets the player use headphones connected to the violin. The first electric violins made specifically for this purpose were created in 1928 by Victor Pfeil, Oskar Vierling, George Eisenberg, Benjamin Miessner, George Beauchamp, Hugo Benioff, and Fredray Kislingbury. These violins can connect to effect units, like an electric guitar, and use effects such as distortion, wah-wah, and reverb. Since electric violins do not depend on string tension and resonance to make sound, they can have more strings. For example, five-stringed electric violins are available from several companies, and a seven-string electric violin (with three lower strings that cover the cello’s range) is also available. Most of the first musicians who played electric violins were performers in jazz fusion (e.g., Jean-Luc Ponty) and popular music.

Violin authentication

Violin authentication is the process of identifying who made a violin and when it was created. This is important because violins made by certain makers or during specific times and places can have a lot of value. Experts check details like the design, shape, type of wood, and the look and feel of the varnish to determine if a violin is real. Sometimes, people try to trick others by making fake violins or lying about their history to make them seem more valuable.