Join us for one (or both) of our Easter School Holiday Workshops!
Thursday 11 April, 10:00am: Tuning with Confidence
Thursday 11 April, 11:15am: Clean Your Instrument & Refresh Your Sound
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Learn how to tune your string instrument safely and effectively, in this fun and informative workshop!
If your or your child's stringed instrument is slipping out of tune as the weather changes or they don't want to wait for their next lesson before they are tuned up again, this is the perfect school holiday activity!
Our Tuning Workshop is hosted by the team of Simply for Strings' talented musicians and educators, where attendees will learn their top tips and tricks for tuning a stringed instrument. Any and all questions can be answered during the session.
The $50 ticket includes a BEAM Rechargable Clip-on Metronome and Tuner. If you already own a tuner, select the $35 ticket and bring your own tuner along to the event!
Violinists, violists, cellists and double bassists are all welcome! Please don't hesitate to contact us to discuss whether this workshop is suitable for your child. We recommend chatting with your stringed instrument teacher about whether or not your child is ready to learn to tune - some teachers recommend learning around the age of 10+.
If you're an adult beginner, this workshop will provide you with some extra guidance and confidence, so you can safely tune your instrument at home.
Join us for a hands-on session, as we go through how to safely and effectively clean and care for your string instrument!
Join us for a hands-on session and learn how to care for your musical instrument!
If your instrument has some rosin and dirt build-up, or it hasn't been serviced in a couple of years, this is the perfect workshop for you! In this best-selling session, attendees will learn how to clean their instrument, change the strings, and glean useful information for long-term care.
Attendees will be guided through removing and cleaning strings, cleaning and polishing the body, fingerboard and pegs, restringing the instrument and placing the bridge in the correct position. Any and all questions you may have about instrument care and maintenance can be answered during the session. An instrument general service usually costing up to $150 will be performed by you, on your own instrument, and all cleaning products will be provided.
Your ticket includes a brand new microfibre cleaning cloth and a bottle of Old Wood Ag+ Italian Cream (valued at $52!) to keep your instrument shiny and clean at home.
All attendees need to bring is their instrument and enthusiasm!
If attendees would like to put new strings on their instrument during the workshop, please bring them along or allow 10 minutes before the session to purchase strings on the day.
The ticket cost covers the general service of one instrument - please purchase multiple tickets if performing a general service on multiple instruments.
Here in Queensland, we are incredibly lucky to be the home of several leading composers and pedagogues. String educators including Stephen Chin, Loreta Fin, Timo Jarvela, Keith Sharp, Anne Svendsen and Neridah Oostenbroek are not only remarkable composers, but they are also regular visitors at our Red Hill store! We’re privileged to support these local composers and teachers, and have had a chat with them over coffee about their compositions, learning methods, and what lies ahead for them in 2024.
In our next interview of our Coffee with Composers series, our Education Manager Jacqui sat down with the incredible Loreta Fin.
Recently appointed a Member of the Order of Australia (AM), Loreta is a remarkable educator, composer, performer, and examiner in our Queensland and Australian string community. Notable career highlights include Director of Strings and Instrumental Music at Sommerville House (1993-2021), Federal Examiner with the Australian Music Examinations Board (AMEB), former National and State President of the Australian Strings Association (AUSTA), Queensland Pops Orchestra’s Principal Violist for over 30 years and much more. Jacqui sat down with Loreta before the school term kicked off to learn more about her compositions, her inspirations, and what is coming in 2024.
Thank you so much for coming in early on a Monday morning. You mentioned you’re off to do some workshops soon - what’s coming up for you in 2024?
I have workshops with Education Queensland coming up soon. They’re not so much professional development in the formal way of ‘talking to the teachers’. It’s where they send their best kids from the region to have an advanced music camp, and so from the podium, I'm conducting and I’m also teaching everyone in the room. I'm not putting it in a way that is authoritative, or saying “You should be doing this”. It’s more me with the ensemble going “Okay, we're going to work on intonation” with the students, so we're going to do this exercise that I do to switch our ears on. Because: “almost, kind-of, sort-of, and nearly” in tune are all out of tune. So, we have to be fussy, and not be happy with “almost, kind-of, sort-of, and nearly”, but how do we get there, how do we do that? What are we actually listening for? So, I do this exercise where I get them all to play a D - which is not an open D string - and then we just move slightly sharp or flat and hear and describe what happens to the sound when it's not in tune, and then they have to find it again. Depending on the age and the experience of the students, we’ll change the difficulty but it’s amazing how quickly they find the pitch again and play in unison. In the next rehearsal, we’ll build on this by establishing unisons in the different sections of the ensemble and how they come together to create chords. By doing things like this, the teachers who are observing are thinking: “Okay, they CAN play in tune, they can hear what a unison is” and so all of this “almost, kind-of, sort-of, and nearly”, shouldn't be happening. I do a lot of work with rhythm as well because I find that kids don’t maintain the beat once they start playing! They’ll count in with you, start playing, and then there’s no more counting or pulse or subdividing. I do a thing where I get the cellos and basses to be a grandfather clock (on the beat), and then add in a wall clock (quavers), and a wristwatch (semiquavers). Then they can choose and seamlessly swap from one to the other! If we’re learning a particular piece which has a new rhythm - say, syncopation - we go from the basis of the grandfather who’s in charge, and from there, all our other rhythms have to fit like a jigsaw puzzle. We keep that going for a good 4 or 5 minutes so that they're just establishing this internal metronome.
You can tell with your beginner books, the Beginning String Ensemble Series that it has a strong emphasis on rhythm and keeping the beat throughout the little pieces.
Well, one piece I have coming out in 2024 is called “Two Minute Noodles” and it really focuses in on keeping pulse and rhythm. It’s in 4-4 time, easy key - nothing hard. But, it uses every basic rhythm you can use in 4-4 time: ti-ti ta ta ta; ta ti-ti ta ta; minims, and all the variations. So they have to count and they can't fall into a pattern - I write a lot of music with this thought in mind. This is quite deliberate to make sure the students are really learning and it makes them think and subdivide. My other repertoire does have some repeated rhythms, where I put myself back in my teacher mind: I think, “It's Term 1, I've got a concert in Week 6; Week 3 is swimming carnival; Week 4 the year 4s go on camp, and then the year 5s go on camp, and then and then… I get my whole group maybe 3 times in total and then I have a concert!” So, I write a lot of stuff where the rhythm is homogeneous so that the violins 1, 2, and 3, are playing the same rhythm but different harmonies, so I only have to teach that 1 rhythm and I can whack that bass line in, and if I need to I’ll whack the piano part in to keep it together but some of the pieces can sit without a piano as well. Particularly in my slower pieces, the piano part is important because it’s the piano that subdivides the beat and gives the more interesting harmony when the students aren’t yet able to play high 3rd fingers and so forth. These kinds of works can be pieced together in one rehearsal, and then whatever I can do between now and then is a bonus. Some pieces, like Two Minute Noodles, are different though!
That’s really interesting! I’ve always been in awe of the scale of your catalogue - obviously, you’ve been doing compositions, workshops, teaching and so on for years and years. Did you come to composing mostly through arranging music for your groups at school?
Yes - I'd say most of us have. Certainly, when I was at the Conservatorium, we had a subject called composition which was more learning four-part harmony and stuff like that. We weren’t really creating original works - it was more like: “write an 8-bar phrase in this particular style with these certain parameters”… it’s not really composition which is fine but it is different. It is how I learned as a child and during my studies. My father once had this kind of competition in our family to write a mass which I still remember, so I did have some ideas already! But yes, when I was working with schools and particular groups with such varied abilities and instrumentation - sometimes with no bass and no violas! I just remember in orchestras myself playing a bad “derangement” (as I call it) of Mozart, and I thought, “I know how Mozart is supposed to sound and we don’t sound like that”. It puts you off, the styles are often wrong and it’s not inspiring. So, when I started writing stuff myself, I knew I wasn’t going to do this - I’m going to write stuff that teaches how to play off the string, call it a crazy name, but teaching the skills that will eventually enable them to play Mozart!
I do have to ask… how do you come up with some of these names?! Two Minute Noodles, Molto Mambo, there’s so many.
For me the name always comes last in the process. My process starts with the question "what am I trying to teach?". I always come from this question. For example, I’m trying to teach a syncopated rhythm; I'm trying to teach every rhythm you can possibly play in 4-4; I'm trying to teach a low first finger; I'm trying to teach extended third; I'm trying to play in a particular key; I’m trying to teach minor tonality; and so forth. It comes from the pedagogical aspect of what am I trying to teach. I go from there to making sure that everybody has a little bit of something to do - but then, I have actually also written pieces where the first violins have majority of the melodic material because - often, let’s face it - normally what happens is that you make your way from 3rd violin, to 2nd violin, to 1st violin from year 3 to year 6. Especially in those schools that don’t have 3 different levels of string ensembles and other orchestras. We have to, as composers, keep that in mind too! You do not want to write some hair-raising thing in nosebleed-territory on the viola, when they have only been playing in first position. Most of my pieces are geared towards that primary school to middle school audience because there are lots of composers out there writing stuff for the more advanced ensembles. There’s so much music for these more advanced kids but there isn't a great deal of music for that lower level and limited experience. Once the piece is pretty much done and I've made sure that everybody gets a little bit of something to do, I’ll go, "What does this piece sound like?". Usually, a name will come fairly easily - I use a lot of alliteration - Tango Time, Fiddler’s Farewell, Koala Kanon, Kalypso Kangaroo, there are many more! The American audiences really like the Australian-themed titles.
Do you find that you ever hit writer’s block or similar, having a pedagogical focus?
I rarely get writer’s block in the middle of a piece. Once I start, I’m usually okay. Because I’m aiming for four new pieces a year, I already have an idea of what I’m hoping to achieve or what I’m trying to teach. But if I haven’t decided my focus - I just start. Perhaps I hadn’t written much in F Major, or in a compound time signature and such for a while. I try to keep the notes simple, but add in one or two other more complex elements. If I were to get a writer’s block, I would just start writing, with some little parameters in place, and then just go! Maybe even leave it and come back later.
How do you go about choosing music for different ensembles and do you have any advice for teachers choosing repertoire?
With the freelance work that I'm doing now, I never quite know the level of experience or precise playing ability of the students until I get there. I would have, for example, spoken to SHEP staff and then choose 10 pieces, and within the first rehearsal, I can eliminate a few. You’ve got to have that range of level, different styles, different composers - material to keep everyone engaged. I find it’s best to not choose music that is too beyond the kids and don’t go too advanced. Find good quality stuff that is easy to play and enjoyable - but still teaching something. That is really important because that's the purpose of what we're doing. Some of my pieces like Kalypso Kangaroo are basic pieces but the kids can play and learn the notes quickly, so we can work on musical aspects. I think there’s nothing worse - and I remember this myself - than sitting in an ensemble and thinking to myself, "oh, we sound awful and so out of tune!". If the repertoire is overshooting the mark, they’re not going to play it well. My general go-to framework at school was to have 3 pieces a term: one that’s harder and that we may not play for a while, one that we could play next week, and one that sits somewhere in the middle. Once the easier one is ready, you can bring in another one, and you can build your repertoire like that. You always had three pieces ready for a concert - always thinking ahead a little bit, but also being that little bit “prepared for anything”. You never know when someone's going to ring you and ask you to play at an opening night or assembly presentation or whatever … next week!
What about in terms of setting up yourself for those long-term projects, or maybe teachers who are starting at a new school? It can be incredibly daunting, particularly for our regional educators!
Well, my go-to would be the AUSTA Reading Day at the beginning of the year. We introduce all of the new repertoire - Stephen Chin, Keith Sharp, Timo Jarvela, Neridah Oostenbroek, my own works - there are loads of really interesting Australian composers, and I’m a great believer in supporting the local product. We also do a ‘Best Of’ selection of our overseas new releases for each publisher level. I think for too many years we've tended to think that things that come from overseas must be better. Don’t get me wrong, there is some fabulous repertoire, but some of the overseas composers have gone the pop music route - which is fine! You might need some fun pieces for a themed concert or end-of-year - or even just as an occasional fun piece for your group – Stephen Chin and I were renowned for dressing up in crazy outfits to conduct some fun piece in our combined string festivals. But the rest of our program was fairly sound pedagogical stuff. There’s absolutely nothing wrong with having a fun piece, but not your entire repertoire. So, that would be my first piece of advice: go to these reading days - everything you hear or play on these reading days has been vetted and will save you so much time. AUSTA has the ability to get these pieces from Reading Days to other regional branches or interested groups of educators - so reach out to your locals, get a group together and borrow these folders from AUSTA! As string teachers - particularly if in regional or remote areas - we have to network with and support each other, because you can feel really alone. I have so much respect for our colleagues in regional areas.
My second piece of advice would be to join AUSTA, save your pennies and get to AUSTA events - they have some great conferences and workshops. I always say: “There are 3 reasons to go to professional development events like this...
1. To hear what’s being said and have affirmation of what you’re doing
2. To be reminded of tools and tricks that you might have forgotten
3. The ‘light-bulb’ moment - which should happen to everyone no matter their level of teaching experience.”
If you can find one thing that just blows your mind and makes you go “Wow, I've NEVER thought of it that way before”, then you haven’t wasted your money. From a good PD session, that’s what you’ll get. Also, just go and watch people doing stuff, take advantage of PD days, and there’s some financial help or sponsorships available for many of these types of events if you’re really keen.
You’ve mentioned these workshops and events for 2024. Can you tell us a bit more about these?
I’m actually going to the Northern Territory - to Darwin - with SHEP this year! I’m really excited because I’ve never been to Darwin. That's what I love about the SHEP program is that it's an outreach program - we get out there and these kids are just lapping these opportunities up; they just love it. I’m also working with the QSO GEM program, as well as the Ed Qld Creative Generations Program. These programs are simply incredible and the kids are so, so well-behaved! They might be one of only 6 or 7 in their school ensemble and then they get to come into this big ensemble and hear its mighty sound. I still get chills thinking about my first experience in an orchestra. Sydney Youth Orchestra Camp was a massive moment in my music journey, just hearing the brass blasting behind me, it was just awesome.
Oh, absolutely! My first SHEP program was the first time I had ever played in an ensemble with more than 30 people; and I didn’t play in a full orchestra until I was 17!
It’s such an experience - and even though it’s not great for my ears, I don’t like wearing earplugs because I relish the experience of letting the sounds wash over me.
What can we expect composition-wise from you this year?
In terms of compositions, there are four coming out this year! Poppies is influenced by the ANZAC day traditions and ‘The Last Post’; Two Minute Noodles, which focuses on rhythm; A Minor Matter, which introduces half position on all instruments; and an arrangement of Schubert’s ‘Reverie’ from Traumerei for the more advanced groups!
We hope you found our conversation with Loreta as delightful as we did, gaining deeper insight into her remarkable passion for music education and composition. We're excited for the chance to delve into the creative journeys of more local composers in our upcoming interviews. Be sure to stay tuned for the next edition of Coffee with Composers, where we'll continue to uncover the captivating world of music creation with our exceptional local talents.
]]>Here in Queensland, we are incredibly lucky to be the home of several leading composers and pedagogues. String educators including Stephen Chin, Loreta Fin, Timo Jarvela, Keith Sharp, Anne Svendsen and Neridah Oostenbroek are not only remarkable composers, but they are also regular visitors at our Red Hill store! We’re privileged to support these local composers and teachers, and have had a chat with them over coffee about their compositions, learning methods, and what lies ahead for them in 2024.
In our first interview of our new Coffee with Composers series, our Education Manager Jacqui sat down with the incredible Anne Svendsen.
Working and living on the picturesque Central Queensland coast, Anne is a composer, educator, performer, and creative who is a treasure to our Queensland music community. Anne was an Instrumental Music teacher in both Brisbane and Rockhampton for a mammoth 38 years, and has continued composing and writing string orchestra repertoire for all levels. Jacqui sat down with Anne on a rather warm and humid day (thankfully, in our store’s air conditioning!) to learn more about Anne’s compositions, her inspirations, and what is coming in 2024.
Where do you find inspiration? What spurs a new piece in you?
It’s usually the students. It comes from not having access to pieces that aren’t going to work for that particular group. You want something that's going to appeal to the students so they are actually keen to play it. But also that it’s going to suit their level so they all have some success, and when they go on stage they don’t all freak out and feel confident. And, it’s musical!
That’s pretty much how it started. I hadn’t ever thought of myself as a composer, it was just that I needed pieces for string orchestra, and I thought I’m sure I can sit down and write something. And I did, and it worked! Because you can tailor it to your students. Then, when I had to send it to a publisher, it was usually the case that Lyn Latham would say, "Anne, the double basses don’t have enough to do", or that the violas didn’t have enough, I would have to add to it but otherwise she left most of it as it was!
And I think that explains a bit about the different levels of repertoire you have. You have some early, entry-level pieces, then you have your early to middle school, as well as some really advanced works which look quite fun but they're definitely hard!
I did a lot of first finger pieces and they create a lot of discussion pedagogically as a lot of teachers don’t always agree. My reason behind the first finger stuff has nothing to do with any core fundamentals of hand placement - I agree with them about the importance of the 3rd finger especially in cello and bass! - but if students have already been taught to do the correct hand position, putting your first finger down should not affect the hand position. My other main reason for these pieces was that students were spending so much time on the A and the D strings, and they didn’t really branch out! The first finger pieces enable them to explore more - and of course, the cellists and double bassists love getting down on those bottom strings - you give it to them and they go "YEAH!", and violinists get to play a little on the E. It also gives them the opportunity to work on style - like the Tango Por Uno lets them learn how to play in the Tango style. There’s a really good YouTube video of a youth orchestra in America and they really have captured the style; even though they’re primary school kids, they’re playing in the right part of the bow, and that’s what I really was focussing on - let’s get them playing music, using the bow, and learning different strings, without having to worry so much about left hand notes.
Here’s a fun question... what’s your favourite piece of music?
My favourite piece of music is Pachelbel's Canon!
Really?!?! You’re not sick of it after 38 years of teaching?
I’m even a cellist - isn’t it unusual? I really love Pachelbel’s Canon. I love the fact that I can sit there and play my 8 notes, listen to different blends of the upper strings and how they come in and what they play. I just enjoy the whole experience, because it’s different every time you play with different people! Everyone plays it differently. Some violinists start quite fast, others start slow, and it’s really interesting what they can do. It’s also such a lovely chord progression and, you know, if you’re playing it at a wedding you can watch the bride. I just love it!
I was listening to some of your repertoire this morning and it’s almost like your piece ‘Fairly Fugal’ is kind of similar in a way. Is there a link between the two for you?
No, not really. They came about as two separate things, but I think that maybe Pachelbel did influence me, in that it always fascinated me how that sort of piece can work as a round or as a fugue. You can do whatever you like on top of the ground bass and so I think the ground bass idea has always really appealed to me anyway as a composer and as a performer - I like being the ground bass.
I’ve done a bit of early music as well and it’s always really nice having a ground bass! You’re like, [collective breath out], literally grounded. But all the inventions that people come up with… I would not have thought of those.
I think it’s fascinating. I love trying it out with my sequencer at home, just putting the ground bass in as I’m playing. I guess ‘Fairly Fugal’ did come a little bit from a similar place. The piece actually came out of my time at my first school. I’d been transferred from Rockhampton and we'd moved to Brisbane, and in my first year I had a really really good orchestra, and I thought, "Okay, we need to do something [suitable]", they were good but they were scattered. There was no real discipline vertically in terms of listening across the orchestra, so I thought well they’ve already played the Brandenburg Concertos, but we wanted to play in the Festival of Music. That’s why I wrote it. It’s all in first position - with a few extensions but nothing terribly tricky. Everyone gets something to do and it’s busy, but it’s enough for them to actually feel like they're actually doing something. It also trains students to align [within the ensemble] to make sure you’re also together. That’s how it kind of came about.
Are you working on anything new?
Yes! I’ve done an arrangement of a sea shanty! I knew about sea shanties but this particular friend of ours came over and said "I've got to play a song for you", and she sat down and played this song. We had friends over at the time and we all enjoyed singing it - it was great! Then we watched a YouTube clip of who had inspired our friend to learn the song. My husband, who is a great inspiration to me as well - he always gives me great ideas - he said, ‘Why don't you try arranging it for strings and see how it goes?’ So, I had a go doing that and it's done! It’s being tried out by a school here in Brisbane and they recorded it for me and it sounded great. It was fantastic to hear how it went and how it worked - especially now that I don’t work within Education Queensland, I need someone to try out my pieces to make sure there aren’t any typos or errors! I do have another piece that actually hasn't been published which I think I'll publish myself - I've taken ‘Click Go the Shears’ and I've put it in the minor key, and I’ve written parts in a very middle European way. It was quite freeing to write something like this - after writing so much for students and within certain levels, it was a lot of fun.
I’m also working on a ‘Young Masters Concert’ - the next one from the Debut Concert series! I’m starting to work on that one at the moment. It’s not going to be focussed on vertical movement and two part melodies as much - rather, there will be more independent parts, and there will be more introduction of slurs, more complicated rhythms, and naturals and key changes to explore a bit more! But again, they won’t be long pieces, just short pieces that you can put into a concert program easily.
What advice would you give to teachers, particularly early career teachers, in terms of choosing repertoire and selecting learning methods?
For choosing repertoire, always choose repertoire which is the middle to lower part of the standard of your group. Don’t choose repertoire that suits your 1st violins only. You’ll find more success choosing something that you know the 1sts violins will be able to play, but is only just a challenge for your lower strings.
For teaching methods, it's really hard to choose because there are so many methods out there! I have learned from teaching out of method books, that they are laid out in a particular order for a reason. Sometimes, you have to just do concept work - so you might just take the top line of this page, the top line of that page, et cetera, and then when you go back to revise, you can take the next line, and so forth. Rather than doing a whole page, which might be too challenging, you might want to learn just one line and then keep moving through the book and come back later. It does depend on how the book is laid out, but I have found this to be quite helpful in that I stopped trying to expect the students to be able to get through that page, and then just keep them learning concepts and revising them later.
Would you do a learning method yourself, or do you think there are too many out there already?
I am considering doing a learning method actually, and it’s something I can see in the future. Mine is more double bass focused. What do double bass players need to be able to do? Shifting! It’s really focused around building that facility. Violinists don’t need to shift to go anywhere or use their 4th finger for quite a while in learning, whereas double basses have to shift into position to play a D major scale. It’s more about what the double bassists need rather than them being an afterthought. That’s where I’m coming from.
Your catalogue is certainly growing - which is lovely to see! But, what do you do when you hit writer’s block?
If I'm really stuck, I sometimes go to my keyboard and I’ll put in different styles and improvise in that style to try and get a rhythm or backing accompaniment. That gives me a bit of inspiration. Or if I’ve got a bit of melody and I'm not really sure what to do with it, just putting it into a different style and seeing what happens actually helps a lot, and it gives me some different ideas. Or, I’ll just put on some music on YouTube or something. Instrumental music mostly - I don’t usually go for songs. I’m a jazz person, I really love jazz and I like listening to the sounds of different instruments.
Do you often use your sequencer as well when looking for ideas? I love that you’re integrating your technology and love for improvisations with the more traditional writing of string music.
Yes, sometimes - especially if I have either a melody or harmony but not the other. It’s quite freeing.
We hope you found our conversation with Anne as delightful as we did, gaining deeper insight into her remarkable passion for music education and composition. We're excited for the chance to delve into the creative journeys of more local composers in our upcoming interviews. Be sure to stay tuned for the next edition of Coffee with Composers, where we'll continue to uncover the captivating world of music creation with our exceptional local talents.
]]>Protecting Yourself
Before we dive in, we need to address the health risks that mould can cause and the necessary precautions to take when cleaning mould.
Recommended Personal Protective Equipment:
Effective Mould Removal Solution
There are many different cleaning products and solutions that can be used to remove mould. For cleaning mould off instruments and cases, we use and recommend the following solution, as it is safe to use on most instruments.
Recommended solution:
In a 500ml spray bottle, carefully combine equal parts vinegar and water, incorporating 2 tsp of baking soda gradually to prevent bubbling during the mixing process.
The Queensland Government also recommends a couple of drops of clove oil to help kill mould. Note: Before cleaning the entire surface, always perform a spot test on a discreet corner.
Cleaning Your Case
Cleaning Your String Instrument
Preventing Mould
While removing mould is crucial, the battle doesn't end there. To prevent its unwelcome return, focus on controlling the environmental factors that fuel its growth. Here are some additional steps and insights:
1. Sunlight Exposure
2. Ventilation is Key
3. Humidity Control
4. Instrument Storage
Remember, we understand that managing mould can be a challenging task. However, taking proactive steps to control your surroundings is crucial not only for the longevity of your instruments but also for creating a space where you can enjoy your musical pursuits without the unwelcome presence of mould.
Here are some more helpful resources...
Physical Health and Wellbeing: Mould from Queensland Government
Looking after Your Home: Mould Safety from Queensland Government
Managing Mould Fact Sheet from Education Queensland
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Community Outreach
At Simply for Strings, we love hitting the road and connecting with regional communities. Bringing the joy of music to these areas is what drives us. In fact, our business was built on the idea of bringing music education and quality string instruments to regional towns across Queensland. Back in 2005, our founders would drive from town to town, not just to sell instruments, but to also help educate students, parents, and teachers right in their own homes and schools.
We had many exciting opportunities this year to hit the road and engage with our local community as well as some regional communities. Highlights include our trip to Millmerran where we donated over ten instruments to the community, our String Garden at QPAC for Queensland Symphony Orchestra's The Lost Thing and driving up to Bundaberg to visit schools in Wide Bay region.
1. Millie with a young girl in Millmerran playing a violin for the first time.
2. Simply for Strings car in front of the Millmerran historical mural.
3. Bella demonstrating a cello for a young girl in our String Garden at QPAC for Queensland Symphony Orchestra.
4. Our Education Manager, Jacqui, at Bundaberg Christian College presenting the Outstanding Contribution to Music Award at their Gala Concert
Our Four Legged-friends
Beyond the world of music, we also find joy in the delightful presence of our four-legged friends. Be it our own cherished pets, our customers' special companions, or the friendly neighbourhood cat, Henri, who loves exploring the Old Church.
1. Luthier Mel with her beautiful Darla, and our founder Anna with little Missy.
2. Henri the neighbourhood cat exploring our store.
3. Imogen with Yvonne's gorgeous cavalier puppy, Rosy-Mae.
4. Darla getting comfy on the Showroom couch.
Celebrating our Team
One sweet highlight that stands out – the ridiculous number of cakes we devoured at Simply for Strings! Birthdays, milestones, and achievements became synonymous with delectable treats as we celebrated the incredible accomplishments of our dedicated staff.
1. Celebrating Caley's birthday in-store
2. Hugh treating the team to a delicious vegan berry pie he baked himself.
3. A BIG lemon cake for Anna's birthday celebration.
4. And finally, a cake celebrating Michael's nine year work anniversary.
Christmas Strings Spectacular
The echoes of joy and the beautiful melodies are still lingering from our community Christmas carols. A special note of appreciation goes out to our extraordinary special guest performers – Harper, Eli, Charlie, and Chantelle, who joined the Simply for Strings team to perform beautiful carols for our community. What a magical evening it was at the Christmas Strings Spectacular!
1. Charlie, Chantelle and Harper backstage.
2. Millie and Chantelle smiling together after the wonderful performance.
3. Eli, Charlie, Chantelle and Harper watching the SFS ensemble from side of stage.
4. New best friends, Eli and Josh, giving a big thumbs up after the show.
More Key Moments in 2023
1. Kirra and Sophie with over one hundreds parcels packed during our Make Music Sale.
2. Bidding farewell to our previous Education Manager, Teegan, with beautiful flowers and an impressive cheese board spread.
3. Russel's last day at Couriers Please. Russell had been collecting and delivering parcels to us since 2006. That’s a whopping 18,500 online orders collected by Russell himself over the years.
4. Millie collecting a double bass from a school with a nasty neck break that we repaired.
1. Michael and Josh twinning at work.
2. Watching the sunset over Brisbane City from our Showroom.
3. Anna having new headshots taken by Anthony Atkinson.
4. Renovating our Warehouse and Workshop spaces.
“Thank you, great songs and great artists - well done!”
A special note of appreciation goes out to our extraordinary special guest performers – Harper, Eli, Charlie, and Chantelle. Your musical virtuosity added an exceptional layer of magic to the event, captivating everyone present. We are truly grateful for the gift of your talent and the joy you brought to our celebration. The bonds formed and friendships forged through the shared love of music made this experience truly extraordinary for everyone involved.
"We enjoyed every single moment and stories of the performers."
Get to Know our Special Guest Performers
Eli
Eight-year-old Eli is a talented young violinist who travelled all the way from Millmerran to be a part of Christmas Strings Spectacular. With four years of playing under his belt, Eli finds joy in sharing the happiness his music brings. He thrives on conquering challenging pieces and, despite occasional frustrations, revels in the exhilaration of mastering them.
Harper
At just 11 years old, Harper is a double threat, playing both the violin and the cello! Harper has been playing the violin for eight years and the cello for five years. Raised in Brisbane, Harper's fascination with the nuances of sound, especially the varied tones produced by different parts of the bow, makes her a standout performer.
Charlie
Charlie, a 14-year-old cellist with a flair for music, was born in South Australia but has called various parts of Australia home. Despite having only played the cello for six months, Charlie has a profound connection to the music she creates. Her love for feeling the music resonates in every note.
Chantelle
Eight-year-old Chantelle brings a powerful presence to the ensemble with her double bass skills. From Brisbane, she has been playing the instrument for 3 and a half years, finding joy in the unique ways she can interact with the double bass, from tapping on it to dancing with the instrument.
The afternoon kicked off with an exciting Christmas Carols workshop for our special guest performers in our Green Room. The workshop was led by our Showroom Manager, Josh, and was a harmonious blend of festive tunes and shared musical enthusiasm.
“I liked making new friends and meeting Josh. He was the nicest and best violin player ever” - Eli
The excitement continued as the Simply for Strings team and special guests gathered for a quick dress rehearsal at 5pm. Remarkably, this was the first time we all played together! The camaraderie and collaborative spirit among the team and special guests created a unique musical bond that set the stage for an unforgettable Christmas Strings Spectacular.
As the sun set, the culmination of our efforts took centre stage with the much-anticipated concert. The venue resonated with the melodic echoes of our collective performance, creating a magical atmosphere that truly captured the spirit of the season.
To our incredible community who gathered with us on the evening, your presence, singing and enthusiasm turned this event into something truly magical. The joyous atmosphere you created resonated with the spirit of togetherness and celebration. Every note played, every shared smile, and each burst of applause contributed to the symphony of joy that echoed through the night.
As we reflect on these beautiful moments, let's carry the warmth and harmonious spirit forward into the holiday season.
With deepest gratitude and warm wishes for a joyous and music-filled Christmas season,
Anna and the Simply for Strings team
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Our Top Picks
Leatherwood Rosin and Accessories
This Christmas, treat your instrument to the gift of exquisite craftsmanship with Leatherwood Bespoke Rosin and Accessories – the perfect gifts for discerning musicians. Handcrafted in Orange, New South Wales, Leatherwood Rosin blends Australian pine resin with international resins, offering a range of set recipes and bespoke blends for violin, viola, cello, and double bass.
Complementing this refined rosin experience is a luxurious accessory range featuring silk wraps, leather bow sheaths, silk and suede chinrest covers, cello and bass endpin belays, and more. Each piece is meticulously handcrafted using the finest pure mulberry silk and Italian leather, promising not only functionality but also a touch of opulence.
Elevate your loved ones musical experience with the gift of a Manhasset Music Stand this Christmas! These stands boast exceptional quality and enduring durability, making them the perfect Christmas gift for any musician. With a variety of fun and vibrant colours to choose from, these stands not only enhance the musical experience but also bring a colourful and joyful flair to any practice space.
Place your orders before Sunday the 17th December and select Express Shipping at checkout to have your gifts delivered in time for Christmas.
Yes! We offer complimentary gift-wrapping. Just let us know what needs wrapping in the notes of your order.
We are open until Saturday the 23rd of December! Any last minutes presents or gift vouchers can be purchased in-store on this day. We will be closed from Sunday the 24th of December and reopen on Tuesday the 2nd of January.
You can still shop online over the holiday period and orders placed after December 22 will be dispatched when we re-open on the 2nd of January.
We can’t wait to make more music with you in 2024. See you then!
Anna and the Simply for Strings team.
]]>Initial Impressions of the Il Cannone Direct & Focused (Medium, Soloist, and 0.28 E).
The “Direct & Focused” variant of Larsen’s Il Cannone strings are a new addition to their violin string range. They are available in Medium and Soloist tensions (with a bonus 0.28 gauge E-string), and yield a lustrous, powerful sound with a great clarity to them. This review represents my first impressions of each string after spending a week with them, with a quick comparison of the various Il Cannone E-string gauges and some general recommendations for the musicians these strings will suit.
Soloist
For me, the “Direct & Focused” Soloist tension captures what Il Cannone strings are about. Though “focused” is an accurate descriptor, they are not thin - these strings offer incredible projection, with a sound that is dark and powerful. The response under the bow and left hand is immediate and feels easy to play, despite their higher tension. The strings were even in sound across the instrument, but there was a notable difference for how the G-string responded to the bow on my instrument. The response was not bad - just a little slower than the D and A. Of the two sets, the 0.28 gauge E suits the Soloist set very well, offering a dark sound at the expense of a harder sensation under the fingers and bow.
Medium
In its Medium tension, these strings retain the focus and silvery quality of the Soloist set while being sweeter in sound and allowing the instrument to ‘breathe’. The strings feel softer under the bow and left hand, but the strings still respond quickly and speak without being choked. I found the Medium E was a little thin in sound (especially after coming from the 0.28 E). This aside, the strings were well balanced and each felt very similar in response and sound. I did not encounter the different sensations in response between the G and other strings on this set, like I found with the Soloist tension strings.
E-string comparison: 0.28 gauge, Soloist, Medium
In addition to their usual strings included in each set, Larsen include one 0.28 gauge E for violinists to experiment and find a sound that suits them. As previously mentioned, the 0.28 E (8.8kg) gives a much darker and rounder sound, with some more bow sizzle. It feels beefy and taut, but does not feel out of place or uncomfortable to use when paired with a suitable set of strings. The Soloist tension E (8.4kg) is still higher in tension than many other “solo” E strings, but feels well balanced, sweet, and powerful. As for the Medium E, I would turn to other E’s of the same gauge, such as Goldbrokat, for I found the sound to be a little thin.
The Larsen Il Cannone “Direct & Focused” are strings suited for the concert hall, for their response is fantastic and projection is significant. These strings are ideal for instruments which already have a rich texture and colour, for they will elevate the instrument and help it project. There is a possibility that these strings will lean towards being harsh and thin on an instrument that is already bright, but Larsen have many offerings that can cater for these needs.
One thing that I had noticed was that the A could tend to be quite bright in the upper register. But this shouldn't be too much of a deterrent for players who want quite a big sound. In comparison to the Evah Pirazzi A string, though, I found the Dominant Pro has the ability to provide clarity more than harshness. It works quite well even as a standalone string; perhaps if used with another set, it provides clarity that some A strings can miss. This goes for the entire set, which, if put on a brighter-sounding instrument, would still provide clarity and projection. They are, though, quite warm-sounding strings when it comes to the overall sound. I mention this since this is why I think they would work for a large range of instruments. They are easy to play with because of their quick response time. They provide a great dynamic range, especially when using softer dynamics.
The sound across each string is very well balanced. When you cross strings, the sound of the strings doesn't change much because they blend together well. In saying this, these strings have a great core sound and allow the viola to show its unique quality. The string gives a lot of nuance to the bow and, from my experience, works for a lot of different styles of playing. When using them on my viola for contemporary works, they were very, very easy to use with extended techniques. While playing Romantic period works, their deeper sound quality provided a rich colour, which worked very well in that style.
All in all, if you’re looking for a set of strings at any level, these are a great option. With their deep sound, clarity, and projection, they would work for a large variety of instruments. I really enjoyed playing these strings on my viola, and if you are to use them, I hope you do as well.
Written by Sophia Mackson, Violist and Sales Associate at Simply for Strings
]]>Though more care must be taken to not choke the sound in higher positions, when compared with synthetic strings in the same price tier, Passione Solo offers significantly more bow resistance than other gut strings I have played. The slow bow response associated with gut strings does allow for the musician to really feel like they can “catch” the string, but this often does come at the cost of the sound becoming more easily choked in higher positions. These strings retain this “catching” feeling and extreme easiness under the left hand but do not choke in the same way at all. A notable example lies in the comparison between the Passione Solo and Oliv (non-stiff) G-strings, where the 1kg increase in string tension allows for more sound to be drawn from the instrument all the way up the string.
The reduced tuning stability of gut strings is a deterrent for some musicians which Pirastro have sought to minimise in the Passione Solo set. Being a natural material, gut is more susceptible to humidity and temperature changes than synthetic string materials. Despite this, I managed to play these strings through Brisbane’s changeable summer without many issues. On particularly humid days, the strings did take longer to settle for the day’s practice, but not to the extent that would cause frustration. I will note that when I changed back to a synthetic set for testing, the near immediate break-in time and perfect tuning stability felt like a luxury.
The sound these strings offer is fantastic. My initial feeling when changing to these strings was that my instrument could ‘breathe’. The sound is open and projecting, whilst having a gorgeous richness and complexity to the sound. The texture and colour of these strings’ sound make them very attractive.
With this, I would not hesitate to recommend Pirastro’s Passione Solo strings to those willing to venture away from synthetic strings to draw more complex colours and overtones from their instrument. Price aside, these strings offer a fantastic gateway for violinists to the gut string world - they give a taste of what gut strings can offer while minimising the compromises in regard to bow response and tuning stability that can be associated with gut.
Written by Joshua Smith, Assistant Showroom Manager at Simply for Strings
]]>At Simply for Strings, we love hitting the road and connecting with regional communities. Bringing the joy of music to these areas is what drives us. In fact, our business was built on the idea of bringing music education and quality string instruments to regional towns across Queensland. Back in 2005, our founders would drive from town to town, not just to sell instruments, but to also help educate students, parents, and teachers right in their own homes and schools.
Fast forward to today, and we're still at it, keeping the tradition alive. We love the feeling of making a difference by fostering musical knowledge and passion, especially in places where these opportunities might not be as easy to come by. The service provided during our early years set the foundation of the Simply for Strings customer service philosophy - education and support - to which we still pride ourselves on to this day
This month, Annabel and Millie headed out west to Millmerran, a quaint country town nestled in Queensland's Darling Downs region. But what brought us to Millmerran? It was the inspirational story of a little local boy named Eli. A young violinist with an immense passion for music and a big heart for his regional community. Learn more about Eli's inspiring story here.
We first connected with Eli earlier this year, when his mum called our shop to ask how much it would cost to buy three beginner violins. She told us her 8 year old son, Eli, had been busking outside the local IGA each week in an effort to raise enough money to buy three violins so his friends could also learn the violin. Eli has been learning the violin since he was four years old, but when his family relocated to Millmerran, there was no local violin teacher and no music program at his new school.
“I wish I had more friends that were learning violin because I love playing violin with others. It can feel a little lonely because I like to play with my friends.” - Eli
Luckily, Eli’s first violin teacher, Melinda Coles, was happy to continue teaching Eli over Zoom when he moved to Millmerran. But Eli still longed to play violin with his new friends. It was this longing feeling that inspired Eli and Mrs Coles to create the Millmerran Music for All Workshops and Bush Dance.
“Mrs Coles wanted to help me continue to be motivated and practice. I like performing and sharing my music, especially with my friends - so she suggested that we could bring the Moreton Celtic Fiddle Club to Millmerran. I love sharing my music and I wanted to bring music to Millmerran. I've been practising really hard to help share the music with all of my friends and community” - Eli
Over 20 kids from Millmerran and surrounding small towns came together for the Music for All Workshops, hosted by the incredible Melinda Coles, the Moreton Celtic Fiddle Club and the Australian Celtic Women. This was an incredible opportunity for these kids to make music for the first time in their lives. Their little faces said it all! The music they were making together brought them all so much joy.
We were also honoured to play a small part on the day of the Millmerran Music for All Workshops and Bush Dance. Through the kindness and generosity of our community, Simply for Strings donated twelve preloved instruments to Eli and the town of Millmerran. Millie and Annabel packed the car full of preloved instruments and drove to Millmerran to personally deliver them to Eli and his friends. It brought us so much joy seeing the smiles on the kids faces when we gave them an instrument to take home.
Our Instrument Giving Program
At Simply for Strings, we oversee our very own instrument donation program. We provide schools, community organisations and families in need with quality preloved string instruments that have been generously donated by members of our community. Our Simply for Strings luthiers take care of the setup, repair or restoration of instruments before delivering them to new homes. We believe that everyone should be given the opportunity to experience the gift of music. Read more about our Instrument Giving program here.
If you, or someone you know, is seeking the gift of music, we warmly invite you to reach out. We're eager to provide instruments to those in need, embracing the belief that everyone deserves the chance to experience the transformative power of music.
]]>Here at Simply for Strings we sell a large variety of rosins, one of them being by Pirastro. Pirastro is known for their widely loved and highly recommended string sets, and their rosin range has been specifically designed and marketed to work with their corresponding string sets, varying in their characteristics and precision grade of hardness.
Choosing the right rosin for you can be an overwhelming experience as there are so many to choose from. In this blog we list the characteristics of each Pirastro rosin we stock here at Simply for Strings to help guide you and to make the selection process easier!
Written by Imogen Ferdinando Cellist and Customer Care Associate at Simply for Strings
]]>Having tried many different string brands on my naturally bright violin, I struggled with an overabundance of brightness that left my instrument sounding harsh and crystalline. On playing with Larsen Tzigane strings for the first time, I was immediately struck by the richness and balance they provided for my instrument. Considering this tone, in addition to their responsiveness and short playing in time, they have quickly become my favourite strings.
About Ravel’s Tzigane
The Larsen Tzigane strings were inspired by Maurice Ravel’s Tzigane. A showcase of vibrant virtuosity; many believed this piece to be a satire of the Romani dances from which it was inspired. However Ravel reinforced his genuine whimsy in composing the piece stating “doesn’t it ever occur to these people that I can be ‘artificial’ by nature?” (Roy, 2014).
Much like Ravel’s Tzigane balances smooth and playful accompaniment of piano or orchestra with exuberant and improvisatory solo violin, Larsen Tzigane strings create a balanced tone with distinguishable character. This balance allows the strings to be suitable for both orchestral and solo playing. The character provided to the strings additionally makes them an ideal nylon-core option for Celtic and Folk musicians.
What Larsen has to say
“Larsen Tzigane: Directly inspired by Ravel’s Tzigane and so delivering a richly smooth, saturated, sound with an overlay of sensual warmth. Rapidly played in and eminently playable with excellent focus and projection. A mellow accompaniment for the brighter to neutral sounding instrument.” - Larsen Website
Larsen Tzigane strings are made in both medium and strong tensions. However for the purposes of this review, I have only tested those with medium tension.
String Details (tension and materials)
E (7.3kg) - Carbon Steel Ball End
A (5.7kg) - Multi-filament nylon core/Aluminium
D (5.0kg) - Multi-filament nylon core/Silver
G (4.5kg) - Multi-filament nylon core/Silver
Written by Caley Madden, Violinist and Customer Care Associate at Simply for Strings
After four years of development with solo and orchestral violinists, Thomastik Infeld has released yet another string set for violin - DYNAMO. Said to “combine the uncombinable”, this new synthetic string set offers uncompromising performance in regard to volume, dynamic range, tone colour, playability, and response.
Having come to the Dynamo set after a 12-month stint on gut strings (namely, Pirastro Passione Solo and Oliv), some time was required to become accustomed to the slightly harder sensation under the fingers and the bow. However, this sensation quickly gave way to an ease of playing thanks to the strings’ quick response.
Thomastik Infeld opted for a tried-and-true combination of silver-wound G- and D-strings, aluminium-wound A-string, and tin-plated carbon steel E-string, all with a synthetic core (besides the E). This, in combination with the string tensions, yields a fantastic evenness across my instrument. Additionally, the quality and evenness of sound when transitioning from string to string remains whilst playing in higher positions. Though Thomastik offer only a tin-plated E-string (8.1 kg) with the Dynamo label on it, those who are seeking greater brilliance and corrosion resistance can use the higher tension Peter Infeld Platinum E (8.3 kg), or gold-plated Infeld Red E (8.0 kg) for a rounder sound.
Personally, I have found a new favourite in the Dynamo set. The texture and tone colour that these strings offer is present from pianissimo to fortissimo, making them ideal for orchestral, chamber, and solo performance scenarios. The Dynamos do not become thin in tone when played softly, and offer a very powerful, brilliant sound without being one-dimensional. Being a synthetic core string, these (of course) cannot offer the chocolatey, gutsy tone and texture that I love from Oliv and other gut strings. However, the Dynamo strings truly allow for my instrument to shine through. I mean this not only by the ‘neutral’ nature of the strings, but also by their response and playability which make it possible to explore the dynamic extremes that my instrument is capable of, without choking or becoming nasal. Though they come at a cost, these are superb strings which have served me well (along with many of my colleagues).
For reference, see the string tensions listed below:
Tension (kg)
E - 8.1
A - 5.5
D - 4.7
G - 4.7
Total - 23
Written by Joshua Smith, Assistant Showroom Manager at Simply for Strings
]]>This week, Annabel (Simply for Strings) asked Eli a few questions about his musical journey so far and his exciting upcoming community project; the Millmerran Music For All Bush Dance and Workshops.
Tell us a bit about yourself, Eli!
Hi I'm Eli and I'm 8 years old. I live in Millmerran and love everything about planes and music. I like to dance, play my violin and play soccer with my friends.
When did you first fall in love with the violin?
I loved the violin from when I was three years old. Mum and Dad used to take me into the Queen Street mall to see Mum's friend Graham, the Saxophone busker - but I always liked to go further and see the young boy play the violin. Mum and Dad say that I would sit and watch him until he packed up to go home. I wanted to play the violin like him.
How long have you been playing the violin?
I started violin when I was 4 years old. On the first day of school in Prep, Mum says that I put my hand up in class and told the teacher 'When do we get to learn the violin because that's the only reason I came to school.' The music teacher then called Mum and said that they usually don't accept students so young, but because I really wanted to do it they should follow my lead. That's how I met my teacher Melinda Coles.
What are some of the challenges that come with learning an instrument in a small, regional community?
Sometimes it is hard because we have to do it online. If there are too many clouds the internet stops working and it makes my teacher pull funny faces. Other times my brothers and sisters try to interrupt my Zoom lesson because Mum is trying to cook dinner. I wish I had more friends that were learning violin because I love playing violin with others. It can feel a little lonely because I like to play with my friends. One time I broke my string and I couldn't practice until Mum had time to drive into town to find another one - now she has some from online so I don't run out again.
How have you been able to continue playing the violin despite the lack of music teachers or programs in your town?
My teacher Mrs Coles lets me do my lessons on Zoom. Sometimes I'm lucky if we have to travel for medical appointments and I can do a lesson in person with her. I am part of the Moreton Celtic Fiddle Club, and when we meet on the Gold Coast to practice Mum tries to drive me down to see my friends and we can play together. It helps to play with others and keeps me motivated - I love it best when we get to perform.
What inspired you to start the “Music For All” program?
Mrs Coles wanted to help me continue to be motivated and practice. I like performing and sharing my music, especially with my friends - so she suggested that we could bring the Moreton Celtic Fiddle Club to Millmerran. I love sharing my music and I wanted to bring music to Millmerran. I've been practising really hard to help share the music with all of my friends and community.
Tell us more about the “Music For All” Workshops and what attendees can expect.
We have been really lucky. There will be two workshops for kids like me. In the morning we are going to learn how to play a song on different instruments. My friends from the Moreton Celtic Fiddle Club are also going to help too. In the afternoon, Mrs Coles friends from the Australian Celtic Women are also going to help by teaching us songs to sing. We are also going to learn a dance.
The workshops are part of the '2023 Music For All Collective' - the best part is that in the evening, we get to perform together on the stage and be the opening act for the Bush Dance. I can't wait to perform with my friends from Millmerran and I hope they like the music that we make together.
Tell us more about your busking and fundraising efforts and how the local community has responded. Have there been any notable achievements or milestones reached so far?
I go busking on Monday after school in front of the IGA. The best time was when all my teachers from school came to cheer me on. There are some people from the community that come to see me each Monday too. I reached my first goal and raised enough money to get all of my workshop friends a t-shirt. That way we will have a uniform and can wear our shirts after for memories.
I was raising money to help fund 3 violins for workshop friends too - but Simply for Strings is coming out to Millmerran and donating the instruments to me - that is why I can afford the shirts. I'm excited to meet Annabel and Millie from Simply for Strings. It is one of my favourite stores because Mum found me a new shoulder rest bag so I don't lose my shoulder rest anymore. When I played at Glen Innes with the Moreton Celtic Fiddle Club I met Paul Anderson who is a violinist and he made me promise that I would always practice with my shoulder rest on. When I practised every day without complaining and used my old shoulder rest Mum bought me a new green shoulder rest too! It's my favourite as it is green and it is more comfy than the last one.
What is the significance of the Millmerran "Music For All" Bush Dance for the community?
I hope that the Music For All Bush Dance will give everyone the chance to enjoy music. I think it is important that my friends get to be the opening act as everyone in town can cheer them on and I know that is the best feeling ever. I hope that the bush dance allows everyone to have fun and dance. Mrs Coles says music brings people together and it's been a tough year in my town. 2 years ago Millmerran was in a bad drought, then really bad fires and last year floods. I hope that the bush dance allows everyone to come together and be friends because being a friend is the best thing to be.
Are there any future plans to expand the "Music For All" Program to other regional and rural towns?
Mrs Coles says that Millmerran is a pilot project. I like that because I like planes. If the program works out Mrs Coles said that we can try doing more to reach other kids in towns like mine. I'm really excited to see what happens next. I have been practising hard to make sure I can help bring music to other kids too.
How can individuals support you and the “Music For All” Program?
We are still fundraising to reach our final goal. Mum has been on the phone a lot talking to sponsors - if you know someone who might like to sponsor us you could let Mum know. Otherwise, we are collecting cans to help subsidise the cost of this event.
If you would like to support the Moreton Celtic Fiddle Club you could like us on Facebook and buy one of our CDs. We are a not-for-profit organisation so all of our CD sales go back into making sure we can perform together at festivals and do fun programs like this in towns like mine. If you are interested in joining our group you could talk to Mrs Coles. We have a Facebook page too called the Moreton Celtic Fiddle Club!
If you want to travel to our town you could enjoy the Music For All program. After the workshops, there is a concert by the Australian Celtic Women and then our Bush Dance. I really hope it sells out of all the tickets. Everyone in town is getting excited for it. I am too. If you want to stay somewhere you could stay at the Millmerran Village Caravan Park. They are really helping to make sure that this event happens. Because of all the rain, and sun and fires our town needs tourists to visit. Even if you can't come to enjoy the music and dance with us in August you can always come and see our town. The bakery sells my favourite treats and the tavern has a really fun mini golf course that I am good at.
Make sure to follow the road rules though because there is a new speed camera on wheels near the bridge. Sometimes the army does training too - last time we drove past I saw them hiding tanks near the trees. It's fun to find them!
Tickets for the inaugural Millmerran Music for All 2023
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Violist and Simply for Strings Sales Associate, Sophia Mackson, shares her thoughts on the popular strings by Pirastro.
I started using Evah Pirazzi strings on my viola when I was 17 years old. I remember the immediate difference and improvement in sound quality on my instrument. I was blown away by the incredible responsiveness the strings provided! Now, I study viola at university and Evah Pirazzi strings are my go-to for my viola.
I love that Evah Pirazzi strings provide a large variety of tone colours. It's quite amazing to have access to something like that from a set of strings.
If it's a quiet moment or a virtuosic one, these strings definitely provide!
As well, the range of dynamic variability is extraordinary. It had never been something I'd ever thought about when choosing strings, but I love that they provide such give and take in dynamics. They are very responsive to anything you want to do in your playing, and the level of projection is enormous.
These strings are also great for me as they settle so quickly when fresh. It only has ever taken a few days for the strings to fully settle for my viola, which is amazing. Wearing the strings in has never been an issue. The durability they provide as well means that for someone who uses their instrument everyday, you can get a good six months out of them, which is great!
These strings are known for their bright sound quality. Used quite widely by internationally recognised soloists, such as Nicola Benedetti and Vilde Frang, it shows how well they suit many instruments. The vibrant sounds makes projection in orchestral, chamber music and solo settings easier. The synthetic core adds to the responsiveness of the string.
All in all, Evah Pirazzi strings are my go-to for my viola and for any recommendations because of the wide variety of positive factors they have.
]]>A day in the life of a teacher can be incredibly fulfilling, but it can also be exhausting, stressful, and full of itty-bitty things to steer you in a completely different direction than what you’d planned. All of us at Simply for Strings have taught or tutored during our musical journeys, whether our neighbour’s child or for decades at school! We’ve put together a few tips to help you feel like you’ve got it together as the ‘new blood’ on the block.
Tip 1: Access all the free stuff (yes, I said free!)
We’ve done all the Google searching for you! There are a bunch of great guides and both online and downloadable resources available for your teaching studio.
Our friends across the Bass Strait, the Tasmanian Symphony Orchestra, have worked incredibly hard to create Online Classroom Resources which feature Australian, Indigenous, and culturally diverse artists as well as the late master Richard Gill AO. These materials are exceptional and flexible - whether you’re assessment planning or looking for some Week 10 classroom activities.
The crew at Carnegie Hall has also developed a Music Educators Toolbox with some very colourful animations and cartoon characters. This toolbox is especially useful for play-based learning for young active minds, with activities that break down a ‘big scary thing’ into something fun.
For teachers based in Queensland, head over to Education Queensland for all your curriculum resources! They also have resources in their ‘Related Resources’ sections to help with unit planning and implementing the EQ IM Curriculum.
If you’re from another state or territory, please let us know if similar resources exist for you!
Tip 2: Know your ‘go-to’ products
‘I need to upsize’ is a question you don’t hear the end of! Here are our recommended models for students. They’re your best value for money, and with our professional on-site setup, these instruments are beautiful to play and listen (keeping the nails on a blackboard noises to a minimum! An Outfit at SfS means you get the instrument, bow, and case, all as one nice little package.
Beginner: Arioso Outfit
The Arioso model is our flagship student instrument and the ‘bread and butter’ of our collection. It features a light, carbon fibre tailpiece with in-built fine tuners, and a lovely semi-gloss varnish that brings out the rose and reds in the spruce and maple. All Ariosos are fitted with D’Addario Prelude strings.
Intermediate: Virtuoso Outfit
Once you’ve got a Handel on how to play (pun intended!), students might be looking for something with more breadth and capacity in their sounds as they move on from the beginner method books and into more refined playing in AMEB, TCL, or ABRSM exams. The Virtuoso model is able to open up a new sound world for the intermediate student, but still hold its own in Australia’s crazy climates. These models are fitted with D’Addario Helicore strings (or Kaplan on 7/8 and 4/4 cellos).
Tip 3: Update your ABN
Oh yes, that thing! If you do any sort of teaching or performing (including casual weekend gigs) and get paid for it, you must register an Australian Business Number (ABN). Your ABN follows you wherever you go in Australia - so make sure you keep your details up to date, just like your car licence or insurance. If your dominant income is through your personal ABN, you may qualify for a discount with our Education & B2B team for your teaching studio! Flick us an email hello@simplyforstrings.com.au to find out more!
Tip 4: Be aware of overcommitment
Just because teaching is not a ‘9-5’ job doesn’t mean that you should let your health and well-being be forgotten. We know that ‘hours of duty’ or ‘duty of care’ are difficult topics, but make sure that you communicate any concerns with higher-ups and back it up with evidence or records, where appropriate. It’s not easy to say ‘no’, but sharing the load means that you may avoid burnout and other severe health complications. If you’re mostly studio-based, remember that a 30 minute lesson usually means about 15-30 minutes of preparation, planning, and follow up per student: and that time is WORK. Your time is valuable and families are generally quite understanding of your chosen rates when this is communicated politely but directly (we know how awkward it is!). It might be worth considering a ‘policy’ or similar if you’ve got quite a large student base of private clients.
Tip 5: Remember, YOU are the professional
Lastly, but importantly, students and their families are coming to you to learn and create music magic! In most cases, you are the expert in the room and students will leave your presence with a piece of information (or advice) that they didn’t have beforehand. For when complications or disagreements arise, express your thoughts clearly, professionally, and rationally. For more nitty-gritty issues like behaviour management, or assistance with finances, consider reaching out to mentors or more experienced colleagues to help you with your individual circumstances.
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“Education is the kindling of a flame, not the filling of a vessel” – Socrates
Here is how they work with each other, and how you can use them in your classroom and ensemble room.
These resources have been created so they hone in on the necessities of intonation, ensemble awareness and solidification of technique, and even better, they work extremely well with the AMEB grades and Education Queensland state curriculum levels.
All of Jeremy’s tutor and ensemble books have these colours at the top of their front cover:
Red band = first two years of learning (EQ levels 1 - 2 / AMEB Preliminary)
Blue band = years 3 and 4 of learning (EQ levels 2 - 4 / AMEB Grade 1 - 2)
Green band = years 5 and 6 of learning (EQ levels 4 - 6 / AMEB Grade 2 - 3)
TUTOR and CLASSROOM BOOKS:
String Basics Book 1 (red band)
Strings Basics Book 2 (blue band)
String Basics Book 3 (green band)
String Basics Solos Book 1 (red band)
ENSEMBLE BOOKS:
String Basics First Performance Ensembles
String Basics Intermediate Performance Ensembles
TECHNIQUE DEVELOPMENT:
Rhythm and Dictation Student Workbook
Get in touch with the Education team for more information and in-depth assistance on how to activate and use the books and online learning resources. Our email is education@simplyforstrings.com.au
We hope these series assist with setting up your strings programme, or refining aspects of your current programme - whatever is needed, Mr W. assists with it all!
By Teegan Dowdell
Education Manager
]]>If you are shopping around for a new string instrument, or upgrading your current one, you will inevitably come across the term “setup”. This term is often used as a buzz-word within the industry but you will find an endless dictionary of definitions for the “ideal setup”, all conflicting with each other.
Never fear, we’re here to help you clear the confusion and find the very best sound and setup on your violin. And as individual as your are, the ultimate violin setup will be unique to your own playing style and preferences.
First of all, what is a setup? What does it mean “to setup” an instrument. Some shops will receive the instrument from the factory, stand up the bridge, tune up the strings and say it is set up. Whilst it may look ready to go, oftentimes it will be difficult to play, won’t stay in tune, break strings, or even be structurally unstable.
For a general overview of the minimum stands of a basic setup, you can check out our helpful guide HERE . Note, here we have used the term “Professional Setup”, as this should be performed by professional luthiers, who are trained experts in the field of violin making, setup, and performance.
As a rule, a setup suitable for any player should have:
What actually is rosin?
Rosin is a hardened tree sap. The resin is tapped like maple syrup from pine trees and is mixed with other ingredients before being cooked and poured into a mould.
Why is rosin needed?
Bow hair cannot actually create the friction needed to produce sound. The application of this sticky substance creates enough friction to cause the string to vibrate. Rosin makes bow hair stick to the string and pull it, which activates the string and produces sound.
How do I put rosin on my bow?
You don’t want to put too much rosin on the bow, or too little! In order for it to be just right, you must first tighten your bow, and then press the bow hair onto the rosin. Hold the rosin in your left hand, the bow in your right, and make several full-length bow strokes in both directions. The friction warms your rosin so it begins to stick onto the "ribbon" of hair. If you are a double bass player, your rosin is a lot more sticky. You only need to go in one direction with your rosin. We usually find 3-5 strokes are enough for a couple days of use. If your bow is brand new and hasn’t been rosined, you may need to do this a few more times!
How often do I put it on my bow?
If you are practising a lot, you may need to rosin your bow a little more often. If you start to notice the bow hair isn’t catching the string properly, you’re in need of some rosin! If you start to notice a scratchy, unpleasant sound, or you’re noticing a lot of dust on your instrument, you’re probably using a little bit too much! Generally speaking, if you use 3-5 strokes every few days, you’ll probably have enough rosin on your bow.
What’s this rosin dust all over my instrument?
If you’re using a little bit too much rosin on your bow, you’ll start to notice little white flecks of dust over the body of your instrument. You may need to stop rosining the bow for a couple of practise sessions, or just use a little bit less. Make sure to wipe it away with a soft cleaning cloth.
Do I need to clean the rosin off my instrument or bow?
You don’t need to clean the rosin off the bow hair – if you are regularly re-hairing your violin, viola, cello or double bass bow, there won’t be any rosin build-up to worry about. However, you definitely need to clean off your strings and instrument! We recommend using a soft microfibre cleaning cloth to do this job. Cleaning off the build-up makes sure your strings last longer, and that your instrument varnish isn’t affected. If your violin has a lot of rosin build-up, you may need to visit us in store to book a general cleaning service.
What’s the big deal with rosin?
String players can take years finding the right instrument. Likewise, tracking down a bow that suits you perfectly can be a life’s work. The quality of the sound is mostly dependent on the player’s ability – but good technique can only help so far if you're using unsuitable rosin. String players generally fall into two groups – devotees, for whom no price is too high and no effort too great in acquiring the perfect rosin, and those who prefer not to put too much thought into it. No matter what group you fall into, Simply for Strings has a rosin that will suit you and your instrument perfectly!
Choosing the best rosin for you can be daunting. There are a few things to keep in mind when picking out a rosin: the instrument, the strings, the bow and the style of the individual player. Rosins are available in dark and light varieties, soft and hard, and can even come flecked with gold!
What’s the difference between light and dark rosin?
Light rosins are often used more in high temperatures, for smooth playing solo or in chamber music. The light formulation is most popular for violin and viola players. The dark type is used more in low temperatures, in orchestra or for full-tone playing. The dark formulation is most popular for cellists and double bassists.
Should my rosin match my strings?
Some string companies make high-quality rosins that are specifically formulated to work in conjunction with their specific sets of strings. This is the easiest way to choose your rosin – if you know what strings you are using, you can match it up!
Rosin makes my hands itchy…am I allergic?
You can be allergic to rosin, but never fear! The Geipel rosin is recommended for any player who is struggling with itchy hands or eyes. Made in Germany, this rosin is promoted for its hypoallergenic properties; it contains no known allergens and is non-irritating. Geipel Anti Allergy rosin comes in a plastic container with a cloth cover.
What if I want to try something a little different?
If you want to try a different formula of rosin, there are plenty of high quality options available. Manufacturers such as Leatherwood, Melos, Bernardel and Cecilia have spent years perfecting their rosin formulas in order to get the best sound out of each instrument.
Below are some of our top rosin picks!
For the beginner violinist and violist: Hidersine Junior or Piranito Rosin. Both rosins are housed in plastic cases, and are suitable for all strings and instruments. They are not too expensive and are a great student option.
For the beginner cellist: Hidersine Deluxe Cello Rosin. Housed in a cardboard box, this rosin is suitable for all strings and cellos. The slightly softer formulation is perfect for student cellists.
For the beginner double bassist: Nyman Double Bass rosin is a great option, housed in a purple plastic box. Nice and sticky, it creates the perfect amount of friction between the strings and the bow.
For the intermediate violinist, violist or cellist: Bernardel Rosin for all instruments. Housed in a blue fabric case, it creates a smooth sound, and the perfect amount of friction between the strings and the bow for violinists, violists and even cellists!
If you are using Pirastro strings on your instrument, their range of rosins are definitely worth a try! Shop Pirastro Rosins.
For the intermediate, advanced or professional double bassist: If you’re after something a little more luxurious, the Pops Double Bass rosin, housed in a red plastic box is definitely the professionals’ choice. This sticky formulation is perfect for all players and instruments. Leatherwood Bespoke Rosin have released Leatherwood BASS Rosin and Leatherwood BASS Extra Rosin which are quickly becoming the player's preferred choice.
For the advancing violinist, violist, cellist or double bassist: Melos Rosin. This handmade rosin is perfect for any playing style, and comes in both light and dark formulations. The sound is smooth across all instruments, and is another professionals’ favourite. Advanced musicians can have exactly what they really need – a full, clear, high quality tone.
For the professional violinist, violist or cellist: If you’re wanting to try the next level of rosin formulations, we’d recommend trying something from the Larica range, or the Cecilia range. We are also an authorised stockist of the the internationally celebrated, Australian-made Leatherwood Bespoke Rosin.
Larica Rosin contains gold flecks – giving the rosin an especially balanced sound. The tone is full, harmonious, round, warm and clear. It gives any instrument a variety of colourful tones.
The Cecilia Rosins (formally Andrea Rosins) were first produced as Tartini Rosin in 2002 – and quickly become world-renowned. They were re-released in three formulations for each instrument – Solo, Orchestral and A Piacere. They have since released their specialised Sanctus blend, with two formulations inside the one cake. The Cecilia rosin range is designed to maximise projection and to get the most out of your instrument.
Leatherwood Bespoke Rosin is handmade in Orange, NSW using ethically-sourced mainly Australian products and cased in Australian timber. They produce handmade violin rosin, viola rosin cello rosin and double bass rosin. Rosin your bow with a custom recipe that is designed to enhance the sound and response of your string instrument, whether you play in a string quartet, string orchestra, symphony orchestra, chamber ensemble or solo playing. Optimise your string playing with a rosin personalised recipe to suit the characteristics of your instrument.
If you still can’t decide, make sure you visit us in store, or call us on 07 3368 3666.
]]>If you’re brand new to cello, we have lots of resources to help you get started, right here on our blog. We’d recommend having a read of our size guide to see which size may suit you best. We offer cellos in all the different sizes and prices to ensure you can find the perfect fit. Not all adults are the same height, or have the same size hands, so sometimes they might need a smaller instrument.
If you’re not sure if you’re ready to buy yet, why not try a rental cello before committing to a purchase? At Simply for Strings, we also offer competitively priced short term and long term cello rentals. Learn more about our rental cellos.
These instruments are a fantastic way to start your musical journey (especially if purchased from a reputable music store!) At this price, you’re looking at an entry-level or beginner instrument that is typically factory-made in China. The basic structure of these cellos will be well-made, but they come ‘out of the box’ with no adjustments. You should be looking for consistency in the grain, which helps produce a clearer tone. A professional set up service will be required to get things sounding and feeling just right. Learn more about why your string instrument set up is so important.
At Simply for Strings, we go through a stringent quality assurance process whereby each and every single one of our cellos are not only hand-crafted but also hand-checked before they arrive into the hands of their new owners. With quality you can see, hear, and feel, and having refined the balance between quality, tone and performance, our cellos are timeless and designed to last a lifetime. So whether your budget is $1,250 or $20,000, we promise we can find your perfect match.
At Simply for Strings, we include a professional set up on all instruments at no extra cost. We also have an on-site workshop where you can book your new cello in for a service by a professional luthier. We welcome set ups and repairs, no matter where you originally purchased your cello from.
For instruments in this price range, it is also important that individual parts are included or upgraded.
Shop Beginner Cellos online and in-store.
There is a shift in quality when you move to this price range. A higher grade of timber is used to create these cellos, and more highly skilled labour is required - resulting in a higher quality of workmanship. You should be looking for a tighter consistency in the grain across the surface, which helps the tone of the instrument. These cellos are hand-finished and higher quality fittings are used, which further improves the quality of the instrument. The combination of workmanship and fittings gives these instruments a more round, resonant and vibrant tone.
Instruments in this price range are suited for beginners and intermediate players alike. If you’re an adult beginner, this level of cello will reward your playing (and ears!) for years to come.
Be on the lookout for:
Shop Intermediate Cellos online and in-store.
From here, you should expect to see a much higher level of workmanship and expertise going into the crafting of the instrument. All cellos in this price range should be hand-finished for finer detailing and overall, be more refined.
The grain of the timber is something you'll need to consider in these instruments. You should be looking for a very even grain across the top plate of the cello. The grain is the natural alignment of fibres in the wood, and can produce a more visually pleasing aesthetic as well as improving the tone and resonance of the instrument. You’ll want to examine not only the grain across the top plate, but the flame and the grain on the maple back.
Varnish is another consideration in this price range - many modern instruments nowadays are varnished with an antique finish. Be careful to ensure the varnish is of a high quality and isn’t inconsistent in any areas.
In this price range, you’ll generally have to purchase a bow and case separately. It’s generally expected that you’ll have your own preferences for the bow and case, but you can always ask for recommendations from our friendly team of passionate musicians. Browse our Cello Bows online or in-store today.
Shop Advanced Cellos online and in-store.
From here, you should expect to see a much higher level again of workmanship and expertise going into the crafting of the instrument. Cellos in this price range will be constructed using aged tonewoods, which will increase the resonance and vibrancy of the cello. You should expect to see some quality European brands such as Helmut Illner and Pierre Marcel alongside the highly regarded Chinese/American Jay Haide range in the price category. When selecting a cello in this price range, you should expect to see professional fittings fitted across the board - an upgraded bridge, professional strings, upgraded tailpiece and high-quality pegs.
Stringed instruments are an investment - in your craft, in your creativity and in your passion. So we know that, whether you’re a first-time student or a lifelong enthusiast, hobbyist or professional, we want to make sure you’ve found the perfect fit. At Simply for Strings, we offer a happiness guarantee on every cello we sell - free return within 30 days of purchase. No questions asked. No fees to be paid. Why? Because finding the right instrument is a bit like finding your soulmate - it can take some time, but when you find the one, life will never be the same.
Of course, choosing a cello that suits you and your performance needs doesn’t have to be a decision you make all on your own. Here at Simply for Strings, our friendly team consists entirely of musicians who understand the nuances of each different cello we offer. We can guide you personally through our range, demonstrate cellos for you and help you find your perfect match. Whether it’s over the phone, email or in person, we’d love to hear from you. At Simply for Strings, we offer flexible payment options such as ZipMoney and Afterpay so you can pay off your investment interest-free*.
Get in touch with us today to start your cello journey.
]]>If your child is a beginner, you don’t necessarily want to overspend on an instrument that isn’t suited to their level, but if they’ve already started out with a basic instrument borrowed from school, you may want to start looking around at intermediate priced violins instead of the cheapest available.
$335 – $700 Violin Price Range
These are the most inexpensive violins that you’ll find at music stores. At this price, you’re looking at an entry-level or beginners instrument that is typically factory-made in China. The basic structure of these violins will be well-made, but they come ‘out of the box’ with no adjustments – a professional set up service will be required to get things sounding just right. We include our professional set up on all instruments - at no extra cost.
For instruments in this price range, it is also important that individual parts are included or upgraded:
Shop Beginner Violins online and in-store.
$700 – $1400 Violin Price Range
There is a shift in quality when you move to this price range. A higher grade of timber is used, and so more highly skilled labour is required (resulting in a higher quality of workmanship). These violins are hand-finished and better parts are used, which further improves the quality of the instrument. The combination of workmanship and fittings gives these instruments a more mature, resonant tone.
Instruments in this range are generally better suited to an intermediate player as an upgrade from their first violin to their second. This level of instrument would be considered a ‘luxury’ item for a beginner, but the quality can really pay off in their early musical education if you can afford it.
Be on the look out for:
Shop Intermediate Violins online and in-store.
$1400 – $2500 Violin Price Range
From here we start to see a much higher level of workmanship and expertise going into the crafting of the instrument. They are hand-finished for finer detailing and more refined workmanship is used.
The grain of the timber is something you’ll need to consider in these instruments. The grain is the natural alignment of fibres in the wood, and can produce a more visually pleasing aesthetic as well as improve the tones and overtones of the instrument. You’ll want to look at the tightness of the grain on the front, and the flame of the grain on the back.
These elements are a reflection of the higher grade of timber used in the instrument, which produces much nicer tones and overtones, allowing for much a more resonant and expressive quality of sound when played. They also project their sound better, producing a higher volume than the previous ranges.
This level of instrument is usually the choice of advanced students because the quality of sound allows them to play more solo repertoire and suits much more expressive playing.
In this price range, keep in mind that you may need to invest in:
$2500 and above Violin Price Range
At this point, you start to find more individually priced items, and your considerations will change depending on the workshop that the instrument comes from. The reputation of the maker may influence your decision, as various levels of workmanship and timber will vary and musicians may prefer one maker’s sound to another. The characteristics of the instrument’s sound become more personal and individual at this level.
At this price range and above, you will find many instruments are crafted in European workshops. They are popular because people know the European reputation for high-quality workmanship and materials. Our best-selling advanced violins are from the Helmut Illner workshop, based in Germany. They are a customer favourite due to their expressive, full tone and very high quality materials.
At the top end of our range you can find the Belgian master-made brand Pierre Marcel, and Italian-made Lillo Salerno; both of whose instruments represent outstanding quality and excellent value for money.
The quality of the timber and the grain of the timber is something you’ll need to strongly consider in these instruments. The grain is the natural alignment of fibres in the wood, and can produce a more visually pleasing aesthetic as well as improve the tones and overtones of the instrument. You’ll want to look at the tightness of the grain on the front, and the flame of the grain on the back. As mentioned above, these elements are a reflection of the higher grade of timber used in the instrument, which produces much nicer tones and overtones.
Varnish is another consideration in this price range - many modern instruments are varnished with an antiqued finish. Be careful to ensure the varnish is of a high quality, and is uniform across the instrument.
In this price range, you'll generally have to purchase a bow and case separately. It’s generally expected that you have your own preferences for the bow and case. Learn more about how to choose a bow. You should expect to spend between $900 or more for a higher quality pernambuco or carbon fibre bow, depending on your level of performance.
Shop our wide range of violin bows.
Of course, choosing a violin doesn’t have to be a decision that you make all on your own. Here at Simply for Strings, our friendly team members are all qualified musicians who understand the nuances of each different violin we stock. We can guide you through the range and help you find the one that’s right for you. Come and visit us at our store in Red Hill or get in touch with any questions you might have.
If you’re brand new to double bass, we have lots of resources to help you get started, right here on our blog. We’d recommend having a read of our size guide to see which size may suit you best. We offer double basses in all the different sizes and prices to ensure you can find the perfect fit.
If you’re not sure if you’re ready to buy yet, why not try a rental double bass before committing to a purchase? At Simply for Strings, we also offer competitively priced short term and long term double bass rentals. Learn more about our rental double basses.
$2000-$4000 Double Bass Price Range
These instruments are a fantastic way to start your musical journey (especially if purchased from a reputable music store!) At this price, you’re looking at an entry-level or beginner instrument that is typically factory-made in China. The basic structure of these double basses will be well-made, but they come ‘out of the box’ with no adjustments. You should expect most instruments in this price range to be constructed using a combination of ply, laminate and solid tonewoods like maple and spruce. Plywood and laminated materials ensure affordability with a warm, open tone. On the higher end of this price range, you should be looking for an instrument constructed using mostly solid timbers, which will offer the instrument a more mature, resonant tone. You should be looking for consistency in the grain, which helps produce a clearer tone. A professional set up service will be required to get things sounding and feeling just right. Learn more about why your string instrument set up is so important.
At Simply for Strings, we go through a stringent quality assurance process whereby each and every single one of our double basses are not only hand-crafted but also hand-checked before they arrive at the hands of their new owners. With quality you can see, hear, and feel, and having refined the balance between quality, quality and performance, our double basses are timeless and designed to last a lifetime. So whether your budget is $2200 or much higher, we promise we can find your perfect match.
At Simply for Strings, we include a professional set up on all our instruments at no extra cost. We also have an on-site workshop where you can book your new double bass in for a service by a professional luthier. We welcome set ups and repairs, no matter where you originally purchased your double bass from.
For instruments in this price range, it is also important that individual parts are included or upgraded.
Shop Beginner Double Basses online and in-store.
$4000-$6000 Double Bass Price RangeThere is a shift in quality when you move to this price range. Double basses in this performance level should be crafted using tonewoods only, rather than a combination of ply and tonewoods. Therefore, you should expect a shift in tonal quality and resonance. These double basses are hand-finished and higher quality fittings are used, which further improves the quality of the instrument. The combination of workmanship and fittings gives these instruments a more round, resonant and vibrant tone.
Instruments in this category are suited for beginners and intermediate players alike. If you’re an adult beginner, this level of double bass will reward your playing (and ears!) for years to come.
Be on the lookout for:
Shop Intermediate Double Basses online and in-store.
$6000-$9000 Double Bass Price Range
From here, you should expect to see a much higher level of workmanship and expertise going into the crafting of the instrument. All double basses in this price range should be hand-finished for finer detailing and overall, be more refined.
A higher grade of timber is used to create these double basses, and more highly skilled labour is required - resulting in a higher quality of workmanship. You should be looking for a tighter consistency in the grain across the instrument, which helps the tone of the instrument.
You should be looking for a very even grain across the top plate of the instrument. The grain is the natural alignment of fibres in the wood, and can produce a more visually pleasing aesthetic as well as improving the tone and resonance of the instrument. You’ll want to examine not only the grain across the top plate, but the flame of the grain on the back.
Varnish is another consideration in this price range - many modern instruments nowadays are varnished with an antique finish. Be careful to ensure the varnish is of a high quality and isn’t inconsistent in any areas.
In this price range, you’ll generally have to purchase a bow and case separately. It’s generally expected that you’ll have your own preferences for the bow and case, but you can always ask for recommendations from our friendly team of passionate musicians. Browse our Double Bass Bows online or in-store today. Please note, we only display a small range of basses at the higher levels. If interested in other brand/model options, please enquire with us. We can also plan and quote customised setups
Shop Advanced Double Basses online and in-store.
$10,000 and above Double Bass Price RangeFrom here, you should expect to see a much higher level again of workmanship and expertise going into the crafting of the instrument. Double Basses in this price range will be constructed using aged tonewoods, which will increase the resonance and vibrancy of the instrument. When selecting a double bass in this price range, you should expect to see professional fittings fitted across the board - an upgraded bridge, professional strings, upgraded tailpiece and high-quality machine heads. You should also consider adding an extension E string to a double bass of this calibre to aid in your orchestral playing. We only display a small range of basses at the higher levels. If interested in other brand/model options, please enquire with us. We can also plan and quote customised setups.
Stringed instruments are an investment - in your craft, in your creativity and in your passion. So we know that, whether you’re a first-time student or a lifelong enthusiast, hobbyist or professional, we want to make sure you’ve found the perfect fit. At Simply for Strings, we offer a happiness guarantee on every double bass we sell - free return within 30 days of purchase. No questions asked. No fees to be paid. Why? Because finding the right instrument is a bit like finding your soulmate - it can take some time, but when you find the one, life will never be the same.
Of course, choosing a double bass that suits you and your performance needs doesn’t have to be a decision you make all on your own. Here at Simply for Strings, our friendly team consists entirely of musicians who understand the nuances of each different double bass we offer. We can guide you personally through our range, demonstrate double basses for you and help you find your perfect match. Whether it’s over the phone, email or in person, we’d love to hear from you. At Simply for Strings, we offer flexible payment options such as ZipMoney and Afterpay so you can pay off your investment interest-free*.
Get in touch with us today to start your double bass journey.
]]>The violin is a descendant from the Viol family of instruments. This includes any stringed instrument that is fretted and/or bowed. It predecessors include the medieval fiddle, rebec, and lira da braccio. We can assume by paintings from that era, that the three string violin was in existence by at least 1520. By 1550, the top E string had been added and the Viola and Cello had emerged as part of the family of bowed string instruments still in use today.
It is thought by many that the violin probably went through its greatest transformation in Italy from 1520 through 1650. Famous violin makers such as the Amati family were pivotal in establishing the basic proportions of the violin, viola, and cello. This family’s contributions to the art of violin making were evident not only in the improvement of the instrument itself, but also in the apprenticeships of subsequently gifted makers including Andrea Guarneri, Francesco Rugeri, and Antonio Stradivari.
A violin maker is called a Luthier. A luthier is someone who builds, repairs, or restores string instruments such as the violin, viola, cello and double bass. The word luthier comes from the French name luth, which means lute. A luthier was originally a maker of lutes but the term evolved to include makers of string instruments such as violins and guitars.
A luthier will likely only work four to five hours a day to help maintain a high level of mental focus. A luthier will likely (but not always) work on multiple instruments at a time, carving some instruments whilst others dry. Each instrument requires about 150 contact hours before it is ready to play. A master violin maker, using traditional methods, working full-time in a workshop, will craft around ten to fifteen violins a year. Antonio Stradivari produced roughly 1,116 instruments during his lifetime, at an average of 14.5 instruments a year.
A violin starts its life as a wedge of wood - usually spruce or maple - which is then sawn in two. These two halves are then glued together in what is known as ‘butterflying'. This process is used for the back and top piece of the violin. The back and top pieces are then cut to the shape of the instruments blueprint which is transferred onto the wood. These shaped butterflied pieces are then shaved by hand, to leave the pieces with a thickness no larger than 3.5mm. The ribs start as straight pieces of wood, as displayed. However, in a very delicate process, involving dampening, steaming and bending the wood, they end up matching the contour of the shoulders and c-bout and are glued to the 6 structural blocks inside the violin.
After the ribs are glued to the blocks, the top and back pieces are then created to match a template, known as the ‘form’. These pieces are then glued to the ribs using a lining which you can see in the displayed disassembled violin. The end blocks and the corner blocks, which sit in the points of the c - bouts, are structurally integral to the violin. The neck, minus the fingerboard, is set in the top end block. The soundpost (inserted after completion) and bass bar (attached during construction), which do offer some structural support, are primarily there to help generate sound. The soundpost is often called the ‘soul’ of the violin.
The process of varnishing a violin is time-consuming and is an art within itself. Each luthier has their own individual recipe, which creates a distinctive colour and finish, which subsequently can be used to identify the maker of the violin. Ingredients such as seedlac, gum mastic, lavender oil and special ethyl alcohol are placed into a glass jar, mixed twice a day and take about one to three weeks to dissolve. After this process occurs, the varnish needs to be double boiled and filtered before it is ready to be applied to the violin. The varnish is hand painted onto the white violin, and each layer needs a week to dry and set before another layer can be added. Linseed oil based varnishes take at least three coats, whereas an alcohol-based varnish needs at least six coats. The old Italian masters used to hang their violins out their windows to dry, but nowadays some luthiers invest in UV cabinets to hasten the drying process.
After a violin has been constructed, and all varnish coats have been applied and dried, the violin is now ready to be ‘set-up’. An instrument set-up includes; the bridge, soundpost, pegs, tailpiece, end button, strings and a neck/fingerboard finish. These are the main functioning parts of the instrument that a violinist will use and must be completed to a high-quality in order for the violin to remain in tune and sounds its best. Simply for Strings luthiers complete this set up on every instrument sold.
Every luthier has their own set-up hallmarks. The bridge is one of the most important parts of the instrument and is carved/fitted in such a way as to help produce an instrument's tone, luthiers will also add artistic flair to the carving of their bridges. Some luthiers can be identified by the way their bridges are carved.
Most makers will place a label inside the violin to signify the make, model and luthier/workshop in which the violin was crafted. There is a science to the set-up of an instrument - however unlike scientific fact, ‘set-up science’ is open to interpretation. For example, the positioning of the soundpost differs from luthier to luthier. Although all luthiers agree the soundpost goes in a general area, the exact position, down to the millimetre, is much debated. If the soundpost is placed slightly towards the right side of the violin, the instrument may have a more prominent treble timbre. If the soundpost is placed closer to the bridge, the instrument may become more direct and clear but may lose some of the mellow overtones.
If you have any questions, or want to learn more about this fascinating process, chat with our team of friendly players, makers and educators today.
To view our range of violins, click here.
Simply for Strings stocks a wide range of advanced instruments from makers and manufacturers from around the world. Make your choice from a selection of Chinese and European instruments from Helmut Illner, Jay Haide and Simply for Strings. Our advanced instruments have been carefully selected for their excellent materials and high-quality craftsmanship, and will see any musician through years of playing. Each advanced instrument is expertly set up by one of our trained luthiers here in Brisbane, and our expert team of professional musicians and string experts often make small adjustments in-store to each advanced instrument, whether it be a change of strings or bridge height adjustment, in order to get the absolute best from these instruments. The utmost attention to detail is paid to each one of our advanced instruments, so you get the very best sound and playing experience. Learn more about our professional set up here.
Helmut Illner
Helmut Illner instruments are an excellent choice for the advanced student or professional musician. The Helmut Illner D and C models are constructed using very high quality aged tonewoods sourced in China, and are handcrafted, under the supervision of the German workshop, in China. The Helmut Illner B and A models are constructed using very high quality aged tonewoods sourced in Europe, and are handcrafted and varnished in Germany. These instruments were selected by Simply for Strings as they provide a powerful, clear tone and are excellent value for money. Typically on the upper register, Helmut Illner instruments are bright and clear and the bass is very sonorous with very easy response and playability. Each Helmut Illner instrument is carefully setup by one of our luthiers here in Brisbane, using high quality Despiau bridges and quality fittings. These instruments are also fitted with advanced synthetic core strings from Pirastro in order to get the best sound from the instrument.
Jay Haide L'Ancienne
Simply for Strings has provided the wonderful Jay Haide L’Ancienne instruments to advanced students and professional musicians for a number of years. All Jay Haide instruments are hand-made using quality seasoned maple and spruce, and have a tone quality and workmanship normally found in instruments costing much more. Jay Haide now offers models which are crafted using naturally aged quality European tonewoods, which represent excellent value for money. Each Jay Haide instrument is carefully setup by one of our luthiers here in Brisbane, using high-quality Despiau bridges and quality fittings. These instruments are also fitted with advanced synthetic core strings from Pirastro in order to get the best sound from the instrument, however you can definitely experiment with different strings and brands – these instruments take to new strings wonderfully.
Monteverdi and Cadenza
Simply for Strings has also provided the Monteverdi and Cadenza instruments to advanced students. The Monteverdi and Cadenza instruments have been exclusively selected by Simply for Strings for their rich tonal palette. Both models are constructed using high quality Chinese aged tonewoods and are carefully setup by our professionally trained luthiers here in Brisbane. The Cadenza violin is similar to the Monteverdi I, with a rich tonal palette ranging from full, dark colours in the lower register to sweet, singing trebles. Its quick response and strong projection make it an excellent choice for the most discerning player. The Cadenza instrument has higher grade timbers and varnish than that of the Monteverdi I. The tonal palette is therefore more refined, expressive and dynamic.
Our advanced instruments are all sold with upgraded strings – including brands such as D’Addario, Larsen and Pirastro. These higher quality strings ensure you’re getting the best sound and projection out of the instrument. We find most advanced students and professionals like to experiment from time to time with different string types, and all of our advanced instruments respond extremely well to different string types. Learn more about our string range here. We love helping customers experiment with string choices – explore the range online or chat to a string expert in-store or online.
Bows
Bows are very important – they compliment your instrument, by bringing out the best sound quality, and also make it possible to accomplish a variety of bow techniques. Weight, balance and flexibility are the determining factors in playing qualities of all bows – all of our bows are hand selected to achieve the optimal combination of these criteria. Read more about selecting a luxury bow here.
We recommend playing through the Dorfler, Paesold and Coda models in particular for advanced students – all three brands staff and teacher preferred due to their consistently high craftsmanship and easy playability.
Cases
When investing in an advanced instrument, it’s important to also invest in a high quality, protective case. We have a huge range of cases to suit all budgets – read our guide to upgrading your case here. The Simply for Strings team are obsessed with the new BAM Panther cases – their nano-coating ensures the case will stand the test of time. Explore the BAM Panther range here. The BAM cases shells made of the BAM Hightech technique: a triple-ply structure made of high performance materials (ABS, solid polyurethane foam, another type of ABS). They offer outstanding protection and ultralight weight.
Rosin
At an advanced level, it’s nice to invest in a higher quality rosin in order to get the best from your bow and strings. Simply for Strings is an authorised stockist of the Leatherwood Bespoke Rosin. Leatherwood Bespoke Rosin gives you a definable and tangible control over your connection to the string and shapes your rosin experience to suit your individual playing style. Handmade in New South Wales from Australian pine resin blended with international resins to create a range of set recipes and bespoke blends for violin, viola, cello, and double bass. Attractively packaged in deer leather and velum. Choose from Crisp or Supple blend depending on your playing style.
String Instrument Care and Maintenance
Your new instrument is precious – whether you’ve invested $300 or $3000 in a new instrument, it is very important to show your instrument some TLC. A cleaning cloth is a life-long essential in your musical journey. We also offer a range of other care tools which can be used to treat your instrument at regular intervals. We have created a specialised guide for all of your cleaning needs here.
Accessories
You may also need to purchase a new shoulder rest, in case your previous one doesn’t fit your new instrument, or a new rockstop in case you’ve misplaced your old one. We have all the accessories you made need in-store or online, with our team of string experts available to help with any question you may have. Our staff pick if you’re upgrading your violin or viola shoulder rest are the exciting Pirastro Korfker Shoulder Rests. The Pirastro Korfker Shoulder Rest is the first shoulder rest using bendable tone wood adjustable to the shape of the shoulder. It offers extensive and very precise personal modifications of position, height and tilt. It brings out a much wider dynamic range from the instrument and is the perfect addition to your advanced instrument kit.
Don’t hesitate to contact our friendly team if you have any questions regarding upgrading to an advanced instrument with Simply for Strings. We’re only too happy to help!
]]>Most modern synthetic core or metal strings have a loop on the end with a metal ball in it, but some, especially some of violin E strings and an occasional viola A, are available with a loop and no ball. So what’s the reason for the two different options?
Before the invention of the complete tailpiece, fine tuners were an extra item that were fitted to the string hole in the tailpiece. This type of fine tuner usually protrudes from the tailpiece in the direction of the bridge and has a claw sticking out, to hold the ball end of the string. The result is that there is less string length between bridge and tailpiece. Some intermediate and advanced string players have this traditional style tailpiece with a fine tuner fitted only for the E and maybe A string (violin); A string only (viola and cello).
Even more traditionally, some professional string musicians prefer to use a tailpiece with no fine tuners at all. This allows for the full length of string between bridge and tailpiece, which then gives better overall vibration and tone. With these tailpieces, the ball end is inserted through a hole in the tailpiece and is held in place by tension.
A lot of the violins you’ll see in music stores today are fitted with tailpieces with in-built fine tuners. There is a two-pronged claw inside the tailpiece, into which you insert the ball end of the string. The claw clutches the ball and holds the string in place. Most beginner and intermediate instruments on the market today have this type of tailpiece, as it can save a lot of time in tuning. For students, ball end strings and fine tuners for every string will mean more accurate tuning and less time lost in tuning. The ball end strings also have a reputation for lasting longer.
This is really about preference.
For more advanced musicians, the suggestion is to try both options. If you can hear an improvement in the tone quality with a loop end E string, then let that be your choice.
Many musicians prefer the convenience of in-built/fine adjusters because:
For some, the desire to make tuning easier and more accurate has led to the installation of tuning pegs with internal gears, such as Wittner Finetune Pegs. They look like ebony but have a mechanism inside which makes the peg operate as both major and fine tuning. They are an excellent alternative, and can be fitted by an experienced luthier. They eliminate the need for fine adjusters on the tailpiece, and free up the instrument to give its best resonance. Give us a call to discuss this option for your instrument today.
Some string manufacturers and makers of higher quality tailpieces have advised us that in their opinion, strings perform better if they are only tuned using the pegs.
Welcome to Simply for Strings Rewards.
Simply for Strings Rewards is an all-access pass to a bounty of string rewards. It's free to join, and every $1 spent earns points that get you closer to your next string fix.
Become a member for free today!
Earn points for different actions, and turn those points into awesome rewards. Earn 2 points for every $1 spent in-store and online, and earn points for following us on social media and simply for being born! (Thanks, parents!)
Once you've earned 1000 points, you can redeem your points for $10 off, or save them up for your next big purchase.
Refer Students or Friends
As a small business, we can't express enough how much we value teachers and parents who kindly refer their friends, family and students to us. To say thanks, whenever you tell someone about us, they'll receive $10 off and you'll receive 1000 points!
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1. A professional set up is essential!
Nearly every instrument has the potential to be as comfortable for the player as possible, however, often, instruments can be neglected at one of the most vital stages of their lives, the set up. Make sure that the violin you are purchasing is set up correctly so that it’s ready to play. Plenty of vendors out there will be happy to sell you an instrument straight from the box with no adjustments, and this means that the sound and technique learned while playing will both be poor.
We recommend only purchasing an instrument that has been professionally adjusted and inspected. A poorly adjusted and inspected instrument is very likely to increase ongoing costs and potentially result in bad technique. Competitive price is not always true value. Simply for Strings combines both competitive prices and quality instruments which will not only last longer, but enhance your performance skills as well. Happy instruments make happy players.
A professional set up should include adjustments to the:
Each part needs to be fitted, adjusted or fine-tuned to ensure comfort while playing, a balance of tone quality and volume, and clarity of sound that is free from buzzing.
We include a professional set up - at no extra cost - with every instrument we sell.
2. Getting the size right
The easiest way to fall in love with playing the violin is to be comfortable doing it. The wrong-sized instrument can cause physical pain while performing, which will certainly lead to the novice player giving up on practice – or playing altogether!
Violins come in sizes that are measured in fractions. A full size violin is listed as 4/4. Other common sizes include ¾, ½ and ¼. There are much smaller sizes available (including 1/8, 1/10 or 1/16) that line the shelves at Simply for Strings.
Your violin teacher should be able to help you with sizing, or you can view our sizing guide or next to all of our products.
Unfortunately, you can’t “grow” into a violin, so buying one that is too big in the hope that it will save you some upgrading in the future just won’t work. If your child is quite young and you’re concerned that they will grow out of their violin too quickly, you should consider buying a cheaper, second-hand violin, or perhaps renting one instead. Learn more about our rental program.
Quick tip: If your child is left-handed, you still purchase a "normal" right-handed violin.
3. Make sure you’re covered
Whether you decide to purchase a new or a second-hand instrument, it’s important that the instrument you purchase is covered under warranty. The warranty should cover the timber and manufacturing quality and safeguards against any structural issues that may arise.
If you’re going for the second-hand option, you should also make sure that the seller has a current second-hand dealer’s license before you buy. This will ensure that you are protected by all applicable consumer guarantees related to second-hand goods in your state. Learn more about our warranty.
4. Buy the whole outfit
A violin might seem “cheap” online but once you buy all of the required extras, the costs can really start to add up. When you buy your violin, make sure it comes in a package with a case and bow (called an outfit). This will save you some money and also means that you’re ready to go!
Essentials not included in your outfit: rosin, shoulder rest, cleaning cloth, and many teachers ask students to upgrade the strings for best results.
A few other items you might considering buying to make the most of your violin setup include:
Shop all of our instrument accessories.
5. Hit the mark on price
You should expect to spend at least $350-$750 if you want a well-made student instrument. This price range also ensures that you should receive a nice sounding instrument. You should expect to spend at least $300 if you're purchasing a well-made second hand instrument.
6. Get branded
Buying a violin that is made by a respected brand should further assure you that you’re getting a good quality instrument. We recommend a few good quality brands that you can find under the beginner violins range of our store. Our best-selling beginner violins are the Prelude, Arioso and Virtuoso ranges. If you prefer a European-made violin, the Gliga range, handcrafted in Romania, is the most popular.
Here at Simply for Strings, we offer our customers free shipping for all violins purchased through our online store. Before they are shipped, all of our violins undergo a final inspection by the team at Simply for Strings. This assures that the instrument meets or exceeds all specifications.
Have some more questions? Get in touch with the string instrument experts at Simply for Strings today.
]]>We all know the old adage “practice makes perfect”.
And with the start of the New Year (and the year that was 2021!) behind us, it wouldn’t be surprising to know that on the top of most musician’s lists, there’s one bullet point: I will practice more often.
So to help, we’d like to start off the new year of 2022 by inspiring you to shift the goalposts, from striving to achieve perfection, to mastering the art of breaking down hard-to-reach goals into smaller adaptable steps.
Whether you’re a parent with a young musician, someone who’d love to finally pick up that stringed instrument as your New Year's resolution, or a music teacher hoping to inspire your students in fresh ways - here’s how together we can achieve our musical goals for 2022.
Fitting in school and other activities
If you’re a parent looking in dismay at your child’s school calendar this year, fear not! There are a few ways you can make this all more manageable.
First step? Take some time before the madness of the year and school term hits, to map out what this year might look like for your child. This doesn’t have to be too formal at all. It can be a Sunday afternoon activity where for around 30 minutes, uninterrupted, you jot down, and goal plan for the year ahead.
Read what to expect when your child starts music lessons here.
Here are some thought starters to help you guide your conversation with them:
These questions will help you set smaller goals and make it more of a joint effort.
It encourages them to write down the 12-month goals. Break them down by actionables each month and week. Which makes it more realistic and achievable.
Read what to do when children baulk at music practice here.
Challenging yourself, while keeping your passion
If you’ve picked up an instrument as a hobby, as do most of us, we sometimes fall into the trap of measuring our progress through specific pieces, and thus sometimes pigeonholing us into playing specific genres or time periods.
Well, 2022 might be the year to challenge that.
Find ways to push your out of your comfort zone by incorporating practices that you would have never done before. Experiment experiment experiment. That? Is where the real music magic comes.
Haven't purchased an instrument yet? Read the pros and cons of renting vs buying here.
Play around with what sounds good or have a crack at composing your own piece. Maybe learn to play a well-loved piece backwards, just for the challenge. Focus on just one passage, and think of the different emotions, speeds, or dynamics that can be altered to change the tone of the piece. Or even find a friend to play with – even if they play a different instrument!
By pushing yourself past your own boundaries, and listening and practicing more widely, you will begin to feel more comfortable with your instrument, and your own growing knowledge of music and music theory.
Teaching beyond exams
As a teacher, it can be quite challenging to juggle students, their wants and needs, what their parents want out of their learning experience, and reaching the big scary exam goal around June/July to October/November exam periods.
A great goal for 2022, to make it more fun for yourself and your students, is to try and set ‘checkpoints’ for children to reach – small wins through, mini challenges.
For example, if one of your students loves the Frozen 2 movies, and have been wanting to learn a song from the movie, you can motivate them by setting smaller goals leading up to it. Let’s say, a trill drill, three times a week for two weeks?
For your own personal goals, consider what you would like to achieve this year, career-wise.
Find out the Top 7 Apps every studio teacher needs here.
What areas too, would you like to be better in? How can you better the experience for your school community and for your students?
If you are on the search for new, not-so-traditional events and professional development conferences, then make sure you keep an eye out for what we at Simply for Strings have brewing for 2022 as we shine the spotlight on our teachers and educators and give them the chance to broaden their own horizons through a series of Professional Development courses.
Teachers help us begin our musical journeys, so it only made sense to give back to the heart of our community. If you’re a teacher or educator, keep your eyes peeled for courses on teacher leadership, understanding children and learning behaviours, and teaching methodologies.
And the best part? The Professional Development courses are certified (therefore it’ll be counted under your 10 hours of professional development required per year) and come with a supportive community and environment.
Keep an eye out on the Simply for Strings website and newsletter for updates!
]]>We understand - this is a large vision, often with a large investment, some nerves, and a number of teething issues to sift through. Not to mention the need to take your vision and mould it into a strategic plan for your leadership and finance teams to approve.
When you first contact the Education team at Simply for Strings, firstly, we feel honoured to be talking with you. There is nothing more exciting for us than knowing that you are considering us to assist with launching your string program - it is what makes us tick and brings us the most joy.
Secondly, we take this opportunity very seriously, and we offer whatever is needed for you to get your program up and running. This could be through starting with our entry level instruments, or perhaps the upgraded option of beginner instruments, or maybe even through our instrument donation program - whatever is needed! We see our role with you as facilitators of what you wish to achieve - we are just on the other side of the fence to make it happen with instruments, accessories and professional development opportunities.
Finally, we are here for you for the long haul. From servicing and repairs to workshops, community engagement and professional development, our aim is to build long lasting relationships to ensure open communication and integrity throughout the life of your program.
Thanks to the trust from teachers and schools all over Australia, we have been able to set up string programs from Mount Isa QLD, Illawarra and Karumba to Queanbeyan, Darwin and Sunshine Coast.
Jon at Scots All Saints College in Bathurst says it best, so we’ll leave it to Jon!
"Starting a string program is high risk; a long term investment with significant up front costs; staff, resources and instruments, plus bows, cases, rosin, chin rests, shoulder rests… Many schools don't even try, but when you watch the eyes of the students learning, hear their aural development and reap the harvest in years to come, it is worth it, ten-fold over!
Simply for Strings have been there the whole way. Shaping our initial dreams into a structured rollout across our timeline. They are literally on call and Teegan even came all the way to Bathurst for our strings launch day, helping with set up and parent education. Simply for Strings is anything but Simple... they make our team's role simple! The Arioso set up was recommended by this superb team and has been the perfect instrument for our students. A rich tone with a robust body at the perfect price for us has enabled us to buy many for our students. The warranty is faultless!
It seems overwhelming to sit back and think about what we have started here in regional NSW. Simply for Strings has guided and assisted greatly across the last 18 months. I can't imagine our program without the direct line to Simply for strings! The long-term investment is gaining momentum and the interest is really growing. We are very excited to watch our students grow musically and academically across the coming years.
Thanks for the help, Simply for Strings! I really appreciate everything you have done!"
Jon Clipsham, Director of Performance
Scots All Saints College, Bathurst NSW
Ready to kick-start your string program? No matter where you are located in Australia, we're here to help. Get in touch with our friendly Education Sales & Services team today to help spread the gift of music in your school.
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