The string instruments are one of the largest family of instruments and are usually held in different forms.

Some string instruments are commonly held between the knees. The body of the instrument is supported by the knees while the musician is seated.

Here is a list of some knee-held string instruments. These instruments are from a diverse range of musical traditions across various cultures and historical periods.

What Are String Instruments Held Between the Knees?

Cello

Perhaps the most well-known knee-held string instrument is the cello. The cello is played in an upright position with the player seated.

The instrument’s body rests on the floor while the neck and upper part are braced against the musician’s chest and shoulder.

The lower bout of the cello, where the C-string is located, rests on a spike or an endpin.

By positioning the cello between the knees, the player can have better control and stability while playing the instrument.

The Double Bass

It is also known as the upright bass or contrabass. The double bass is the largest and lowest-pitched instrument in the string family.

Normally, it is typically played in a standing position with a strap around the player’s shoulder.

However, it can also be played in a seated position. Players typically rest the body of the bass against the player’s body and support the neck between the knees.

Both the cello and the double bass are versatile instruments. They are commonly used in classical music, jazz, and various other genres.

In addition to these classical string instruments, there are modern variations that can be played in a knee-held position.

For example, there are electric cellos and electric upright basses that can be played similarly.

Electric Cello

An electric variation of the cello can be played in the knee-held position.

Electric cellos often have a more compact body and can be played with headphones or amplified for performance purposes.

Electric Bass

This is an electric version of the double bass (also known as the upright bass or contrabass).

It typically has a slightly smaller body and can be played in a knee-held position, similar to the cello.

The Harp

The harp is a popularly known large, multi-stringed instrument with a triangular or semicircular frame. It is played by plucking the strings with the fingers of both hands.

While the instrument rests on the floor or a stand, it sits between the knees of the harpist.

Harpists do not hold the instrument between their knees like with instruments like the cello or double bass.

Viola Da Gamba

The viola da gamba is a fretted string instrument that was popular during the Renaissance and Baroque periods. It has a similar playing position to the cello.

The musician is seated and the instrument’s body rests on the ground. The neck of the viola is braced against the shoulder, and the lower bout is supported by the knees.

Bass Viol

The Bass viol is a large member of the Viola da Gamba family. It has a similar playing position to the viola da gamba.

The musician is seated and the instrument’s body rests on the ground. The neck is braced against the shoulder, and the lower bout is supported by the knees.

Viola Pomposa

This is a lesser-known string instrument. It is similar in size and shape to a violin or viola but with additional sympathetic strings.

It can be held between the knees or supported on a leg while being played.

Some less popular string instruments are also held between the knees and used in cultures around the world.

These may not be as well-known as the cello or viola. However, they provide fascinating opportunities for exploration and creativity in string instrument performance.

Hardanger Fiddle

This traditional Norwegian instrument is similar in appearance to a violin and it has been compared.

However, the Hardanger fiddle has additional sympathetic strings below the main playing strings.

It is played with a bow and can be held between the knees while seated.

Nyckelharpa

The nyckelharpa is a Swedish keyed fiddle. It has a series of wooden keys that depress the strings to change pitch.

It is played with a bow and can be held between the knees. The body rests on the player’s legs.

Hurdy-Gurdy

The hurdy-gurdy is a unique string instrument with a keyboard. It also has a rotating wheel that bows the strings, and various drone strings.

It can be held between the knees while playing, with the keys and wheel accessible to the player’s hands.

Baryton

The baryton is a rare instrument that was popular during the 17th and 18th centuries. It features sympathetic strings that vibrate in response to the main strings being played.

Similar to the viola da gamba, the baryton can be held between the knees. Its body rests on the legs of the player.

Dihu

The dihu is also known as the Chinese two-stringed fiddle. As a stringed instrument, it is played by holding it between the knees.

It is a traditional Chinese bowed string instrument with a small resonating chamber and two strings. The torso of the dihu is typically made of bamboo or wood.

To play the dihu, the player holds the instrument vertically between their knees. The sound box resting on their thighs.

The bow is then drawn across the strings to produce sound. The pitch of the dihu can be adjusted by pressing the strings against the neck with the fingertips.

The dihu is known for its distinctive sound. It is often featured in ensembles, accompanying other traditional instruments.

Octobass

The octobass is an extremely large and rare instrument that belongs to the double bass family.

It is so massive that the player had to sit on a stool and support the instrument between their knees.

The octobass produces incredibly low tones and is primarily used in orchestras for special effects.

Viola D’amore

The viola d’amore is a historical string instrument that has sympathetic strings that resonate sympathetically with the played strings.

It is held between the knees, similar to a cello, and played with a bow. The viola d’amore has a warm and resonant sound and is commonly used in Baroque music.

Lirone

The lirone is a bowed string instrument with numerous strings that are played simultaneously. It is held between the knees or sometimes supported on the lap.

The lirone was popular in the Renaissance and Baroque periods. It was often used to accompany vocal music.

Doshpuluur

The doshpuluur is a traditional three-stringed lute-like instrument from Central Asia, particularly popular among the Tuvan people. It is sometimes held between the knees.

The strings are plucked or strummed while the player uses their other hand to dampen the pitch of the strings.

The Great Thing about Knee-Held String Instruments

Each instrument provides its own unique timbre and playing experience. Overall, knee-held string instruments offer a unique playing experience.

They often produce rich, resonant sounds due to their larger size and design. Granted, the one common feature they share is being held between the knees for support while playing.

This playing position allows for the use of bowing techniques and finger placement on the strings.

It also allows various articulations that contribute to the expressive capabilities of the instrument.

The post String Instruments Held between Knees – Full List appeared first on Musiicz.

Japanese traditional music was used to reduce boredom, as a form of self-expression and encouragement to work among others. The instruments used revolutionized the Japanese culture and are still being used today not only in Japan but around the globe. Today we are going to look at some of the most prominent traditional Japanese string instruments.

Koto

Descended from the Chinese zither Guzheng, Koto is a stringed instrument commonly found in Japan. It has a striking resemblance to not only the Guzheng, but also the dan tranh from Vietnam, gayageum from Korea and the yatga from Mongolia. Koto is easy to spot due to its elongated body averaging 71 inches in length with a width of about 7.9 inches. It is made up of paulownia wood comprised of 13 strings and 13 bridges. In the past, the bridges used to be made from ivory but currently plastic and wood are being used. The Koto strings are made out of plastic or silk and are usually of similar size and tension.

Koto has gone through a number of changes since its introduction to the Japanese. One of the greatest influencers to the innovation and development of this instrument is Yatsuhashi Kengyo. This talented musician from Kyoto came up with Kumi ata, a new form of Koto music. Another prominent influencer is Keiko Nosaka who increased the number of Koto strings to 20 and more therefore creating newer versions of the instrument for people who feel restricted by the 13 stringed ones.

Gottan

Gottan, also called hako or ita, is a stringed instrument that has been in the Japanese culture since time immemorial. If you have ever heard of Kadozuke, then you may have heard of this instrument. Kodozuke is a door to door kind of entertainment which is done for food or money by strolling musicians. Gottan was used for such purposes alongside the shamisen.

This instrument is quite simple both in its music and design. Its body is made entirely of solid wood from top to bottom and is equipped with 3 strings and 3 tuning pegs. This makes it different from its relative the sanshin whose body is normally covered with snake skin. The sound produced by Gottan can be described as warm, gentle, light and cheerful.

Biwa

Biwa is a Japanese plucked string instrument identifiable through its short neck and a body shape similar to a pear. It was mostly used to tell narratives. This instrument is made up of 4 or 5 silk strings of varying thickness. This technique is usually used so as to create different tones and sounds for each one of them. The Biwa is played using a big plectrum (Bachi) shaped like a wedge. It can be used in ensembles or in a solo performance.

The Japanese were first introduced to this instrument during the 7th century and its origin can be traced to the pipa, a Chinese musical instrument. Over the years, a number of versions of this instrument have been created. All of which were made for different purposes. They were distinguished by several features such as number of strings, frets, plectrum and the sound. The most noteworthy types include: Gagaku-biwa, Gogen-biwa, Moso-biwa, Heike-biwa, Satsuma-biwa, Chikuzen-biwa and Nishiki-biwa.

Shamisen

Shamisen, also known as samisen or sangen, is a Japanese plucked instrument with a long neck and no frets. It traces its origin to the sanxian from China which entered Japan through the Okinawa islands. From the sanxian, came the sanshin and this then led to the creation of the shamisen. This Japanese instrument is made up of 3 silk strings, 3 tuning pegs and a wooden body. Its design is similar to that of a guitar or a banjo. However, it has a fretless and thinner neck.

A bachi is normally used to pluck the shamisen strings which helps generate that cultural Japanese tune. This instrument can be played solo as well as in ensembles. Tuning for the shamisen is done according to genre. Some of the common tunings used are Honchoshi/ base tuning, Ni Agari/raised second and San Sagari/lowered three.

Tonkori

Tonkori is a traditional Japanese string instrument from the Ainu tribe who are known to be the original northern Japan inhabitants. It is normally composed of 5 strings and 2 bridges one at the top and another at the bottom but doesn’t have any frets. The instrument’s body is made of wood from a dark-bark spruce. It is approximately 47 inches in length, 4 inches in width and 2 inches in thickness.

According to Japanese tradition, the shape of the Tonkori is said to mimic a woman’s body. The Tonkori was virtually extinct during the 1970’s but has experienced a resurgence over the past years. Among the people leading this revival is Oki Kano, who is a well-known modern performer of this instrument.

Kokyu

Kokyu distinguishes itself from all the other Japanese string instrument by being the only one which is played using a bow. Its construction resembles the shamisen but smaller with a length of 28 inches. The instrument also has another version from Okinawa known in their language as Kucho.

See Also: Haram Musical Instruments: An Insightful Explanation

Kokyu is made up of a neck formed using ebony and a rounded rectangular body formed using either coconut or styrax japonica wood. The body is usually covered using cat skin on both ends however the Okinawa version uses snake skin. The instrument has 3 tuning pegs and 3 strings although in some cases you may get one with 4 strings. In China, the kokyu can be compared to popular lutes like the leiqin and zhuihu.

Sanshin

The sanshin is a traditional Okinawan instrument related to the sanxian from China. It is comprised of a body, a neck, tuning pegs and strings. The name sanshin actually stands for 3 strings and that is exactly the total number of strings found on the instrument. The strings are normally made from two materials, either nylon or silk. The neck of the sanshin is made using black ebony core better known for its strength and the impeccable Japanese cultural sound it is able to produce. It is however not just limited to this type of wood. Other types of wood used include: Oak, Rosewood and Apitong.

The tuning pegs of the sanshin are 3 in total and are made using the same wood used for the neck although ebony is frequently used in some. The body of a sanshin is usually covered with snake skin but this has begun to change with the introduction of artificial sanshin skin. Currently, a vast number of other materials can be used to make the skins for example Polyester. This helps solve the problems encountered by people abroad such as cracks on the skin due to the sensitivity of the instrument.

Conclusion

Although ancient, these Japanese instruments have managed to stay relevant and useful to this day. Some like the Tonkori nearly went extinct and forgotten but it was revived and continues to increase in popularity. This just shows how much culture and traditions are valued. It also gives you an opportunity to experience the traditions of the Japanese people from centuries ago.

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The history of violin playing is populated with overachievers, savants, and genius. While undoubtedly there are many great violin players who we will, sadly, never get to hear, below are some of the players we know have had a huge impact on the instrument.

Nicolo Paganini

Born: October 27, 1782
Died: May 27, 1840

Nicolo Paganini has been cited many times a benchmark in violin technique. Born in 1782 in Genoa, Nicolo first learned the mandolin from his father, before moving on to the violin at age 7. His talents were soon discovered by his tutors, and it is said that he very quickly surpassed them.

Though he had played for Napoleon’s sister, he was not very well known until his debut at La Scala in 1813. He would be honored by Pope Leo XII, and these days is revered for having established the violin as a solo instrument.

Nicolo Paganini: Opere Per Chitarra Sola by Eros Roselli

Joseph Joachim

Born: June 28, 1831
Died: August 15, 1907

Joseph Joachim was for in 1831, in what was then part of the Kingdom of Hungary. After his family moved to Budapest, he began studying violin at age five with Stanislaw Serwaczynski, who was believed at the time to be the best violinist in the region. After showing a great deal of promise, he was accepted to the Vienna Conservatory and was taught by Joseph Bohm.

At only twelve years of age, he would debut in London at the Philharmonic Society, under the conductorship of Felix Mendelssohn. He would also eventually be paid a good wage by King Georg of Hanover in return for playing and conducting at state concerts. He would die in 1907.

Symphonies CDs by Joseph Joachim

Pablo de Sarasate

Born: March 10, 1844
Died: August 15, 1907

The son of an Artillery bandmaster, Pablo de Sarasota was always destined to be a revered violin player. The legend goes that the very first time he picked up his father dusty violin he was able to play a passage of music perfectly. After a series of lessons, he would eventually be admitted to the royal court in Madrid as he developed as a musician. At age twelve, he would be sent to study in the Paris Conservatoire.

He became a favorite of Europe’s late nineteenth century composers, gaining favor with Bizet, Saint-Saens and even music critic and playwright George Bernard Shaw. After his death, works by Saint-Saens, Lalo and Bruch were dedicated to him.

Zigeunerweisen (rec. 1904) by Pablo de Sarasate

Eugène Ysaÿe

Born: July 16, 1858
Died: May 12, 1931

Belgian violinist Eugene Ysaye is regarded as something of a legendary and enigmatic figure. It was said that the violin he played had supernatural origins and had been passed down through generations of his family. Whatever the truth of the story, there’s little doubt that he continues to command great interest and admiration, his compositions played to this day.

He was among the first to play for the Berlin Philharmonic before it was even known as such. Though his playing was legendary, a lot of modern violin playing is owed to his developed technique in teaching. As he grew older, he was known as an important teacher and conductor and, after turning down the New York Philharmonic, became the music director of the Cincinnati Symphony Orchestra in 1922.

6 Sonatas for Solo Violin by Eugène Ysaÿe and Oscar Shumsky

Fritz Kreisler

Born: February 2, 1875
Died: January 29, 1962

Austrian born Fritz Kreisler is known as one of the most expressive and unique violinists of all time. He studied in the Vienna Conservatory under composer Anton Bruckner and was also tutored in Paris by Delibes and Massart.

Disheartened by the refusal of the Vienna Philharmonic to admit him, he took a brief break from performing. However, by 1910 he had regained his position and performed the premiere of Elgar’s Violin Concerto. His last public performance was in 1947. As well as a virtuoso player, he was known also as a composer of operettas and even film soundtracks such as one for the 1936 movie The King Steps Out.

Itzhak Perlman plays Fritz Kreisler CD

Jascha Heifetz

Born: February 2, 1901
Died: December 10, 1987

Born in Lithuania in 1901, Jewish-American violinist Jascha Heifetz traveled to the States in his teens. Having learned violin since the tender age of two, he had already played in much of Europe and Russia, eventually settling in San Francisco in 1917. Soon after, he made his debut at Carnegie Hall. He caused a stir amongst his contemporaries, with even Fritz Kreisler remarking that “We might as well take our fiddles and break them across our knees.”

Sadly, in his later years, his physical ailments forced him to curtail his performances and he focused on teaching and social causes instead.

The Magic of Jascha Heifetz

David Oistrakh

Born: September 30, 1908
Died: October 24, 1974

Born in 1908 in Ukraine, David Oistrakh was internationally revered for his extraordinary technique and tone. He began to play at age five and studied at the well-regarded Odessa Conservatory.

In the early days of the Soviet Union, he gave recitals throughout the state, including Eastern Europe. He would eventually teach violin himself and win the esteemed Eugene Ysaye prize. In the fifties, he would be one of the few Soviet players to be allowed to tour both the UK and the US. Posthumously, an asteroid, the 42516 Ostraich would be named in his honor.

The Very Best of David Oistrakh

Stephane Grappelli

Born: January 26, 1908
Died: December 1, 1997

A pioneer of jazz violin, Stephane Grappelli was born in Paris, 1908. At only 5 years old his mother died, and with the outbreak of the First World War, he was fostered by acclaimed American dancer, Isadora Duncan. It was with her that he began to enjoy French Impressionist music.

His subsequent years at an orphanage were spend in extreme poverty. He would, however eventually become well known as an important collaborator with Django Reinhardt. By the 1960s he became a much sought after session player and played with musicians as diverse as Pink Floyd, Paul Simon, and Yehudi Menuhin.

Vintage Grappelli by Stephane Grappelli

Yehudi Menuhin

Born: April 22, 1916
Died: March 12, 1999

Born in 1916 to a Lithuanian Jewish family in New York, Yehudi Menuhin became one of the most exciting players of the 20th century. He spent his teenage years playing in Germany, even as the Nazi party began to rise. Before even his 20th birthday he had garnered a reputation as a master of the instrument.

In 1945 he accompanied the composer Benjamin Britten to a number of concentration camps to perform for Holocaust survivors. He also branched out from classical music and collaborated with the jazz violinist Stephane Grappelli.

The Great Violin Concertos by Yehudi Menuhin

See also: 6 Violinists Who Started Late and Achieved Success

Papa John Creach

Born: May 28, 1917
Died: February 22, 1994

The story of Papa John Creach is an unusual one for violin players. Born in Pennsylvania in 1917, he began playing violin in Chicago bars when he was 18. As a busker, he had to pick up many different styles, including classical. He was an early advocate of the electric violin in 1943.

Preach played with some of the jazz and blues greats, including Louis Armstrong, T-Bone Walker and, Nat King Cole. He would become a well-known figure in the 1960s and would join psychedelic band Jefferson Airplane, later Starship.

Papa Blues by Papa John Creach

Itzhak Perlman

Born: August 31, 1945

Born in Tel Aviv in 1945, Itzhak Perlman has overcome great odds to become one of the best-loved and recognized violin players in the world. In his earliest years, he taught himself violin, despite having been left disabled by Polio.

He was catapulted to stardom in 1958 having appeared on The Ed Sullivan Show and has ever since been a prominent figure. He has received countless accolades, including the Presidential Medal of Freedom in 2016.

Itzhak Perlman’s Greatest Hits

Nigel Kennedy

Born: December 28, 1956

From the illustrious musical family, Nigel Kennedy is one of the most well regarded and diverse violin players in the world. Known for ditching a traditional classical image, he nonetheless, was accepted into the Yehudi Menuhin School of music at 7, and later the world-famous Juilliard School in York.

At only 16, he appeared with the famous jazz violinist Stephane Grappelli at Carnegie Hall. His recording alongside the English Chamber Orchestra of The Four Seasons stayed at the top of the UK classical charts for over a year. He is best known, though, for his diverse pop recordings and experimental music.

Riders On The Storm – The Doors Concerto

Anne-Sophie Mutter

Born: June 29, 1963

A frequent soloist for the esteemed Berlin Philharmonic, Anne-Sophie Mutter was introduced to music when she began playing piano at 5. After graduating to violin, she was very quickly established as a virtuoso and played her first concert with the Berlin Philharmonic at just 13 years old.

She has been a much sought after musician and played under Daniel Barenboim with the English Chamber Orchestra in 1977. As an honorary member of the Royal Academy of Music, she has been head of its international violin studies. She has countless awards and continues to collaborate with her ex-husband, pianist Andre Previn.

Tchaikovsky: Violin Concerto by Anne-Sophie Mutter

Joshua Bell

Born: December 9, 1967

A native of Indiana, Joshua Bell started playing violin at just 4 years old. By the age of 14 he had landed a coveted appearance as soloist with the Philadelphia Orchestra. He would make his debut at Carnegie Hall at only 17 and has since toured the world with some of the most important orchestras in the world.

He is a well respected musical academic as well as a constant contributor to film soundtracks, such as The Red Violin. In 2007 he made headlines for playing incognito as a busker in a Washington Subway Station.

Voice of the Violin by Joshua Bell

Midori Gotō

Born: October 25, 1971

Japanese born American violinist Midori is one of the most celebrated violinists of modern times. A big inspiration in her playing was her mother, Setsu Goto, who was also a professional violinist. Under her tutelage, Midori began learning violin at the age of three and would give her first public performance at the age of six, playing one of Paganini’s 24 Caprices.

At age eleven she would make her debut with the New York Philharmonic. She continues to teach and play across the world, earning doctorates and teaching positions in many of the top universities.

Bruch & Mendelssohn Violin Concertos by Midori Gotō

Hilary Hahn

Born: November 27, 1979

Hilary Hahn is one of the most exciting players in the field today. She began playing at only 3 years old and made her international debut at 16 with the Budapest Festival Orchestra. A year later, in 1996, she would make her first appearance at Carnegie Hall as a soloist with the Philadelphia Orchestra.

In addition to having played with the major orchestras of the world, she has embraced popular music. She has collaborated with singer-songwriters and experimental composers. She is best known for mastery of Bach’s compositions and has championed classical music performances which allow infants to attend.

Hilary Hahn plays Bach

Sarah Chang

Born: December 10, 1980

Sarah Chang was born to South Korean immigrants Myoung-Jun and Min-Soo Chang in 1980. Both heavily involved in the classical music scene in Philadelphia, Sarah was surrounded from an early age by violin music. She was accepted into the Juilliard School by performing Bruch’s Violin Concerto No 1, at the startlingly young age of 5.

She recorded her first album at only 10 years old and in her teens was playing as many as 150 concerts each year. She has been ranked as one of the Top Eight High Achieving Females in the United States by Newsweek.

Vivaldi: The Four Seasons by Sarah Chang

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