Rest Assured Choosing the chin rest that best suits your needs by Mary Nemet

Paganini, the greatest violinist of all time, never once used a chin rest. The great maestro—known for his blistering speed and devilishly aggressive attack–was able to push his left shoulder so far forward that the violin rested on his collarbone. But, despite this exception, most violinists and violists now accept the chin rest as a useful ally in correctly and comfortably positioning the instrument.

But who first thought of this handy invention? And how did it come to be such an integral part of violinists’ and violists’ lives today? More importantly, how do you find the style, materials, and attachment that are right for you?

Way Back When

Sixteenth-century illustrations are the primary sources for gathering historical information about how players held stringed instruments before the advent of what we’d recognize as modern-day technique. From these pictures, we can discern two main postures: on the arm (viola da braccia); or in the case of the viol, between the knees or legs (viola da gamba). Early violins and their predecessors (the rebec and lira) were held against the left breast, or slightly higher, at the shoulder. Later they were held at the neck but with the scroll lower than the tailpiece. Even though this last position undoubtedly required some degree of firmness or steadying for higher positions and downward shifts, it is doubtful that the chin really gripped the violin.

By the 19th century, new demands on violin technique required freer use of the left hand and, therefore, more stable support for the base of the violin. In response, British violinist, composer, and conductor Louis Spohr (1784–1859) invented the first chin rest around 1820. His design positioned the chin rest directly over the tailpiece. Despite this development, most players still held the violin uncomfortably against their necks with the main support coming from the left hand, which is reasonably satisfactory while playing in first position, but which impedes the flow of the left hand when changing position, especially when shifting downward.

The chin rest soon evolved from a carved wooden block (usually ebony or boxwood) clamped to the ribs, to a small crescent shape (still placed directly over the tailpiece), to more sophisticated designs placed to the left of the tailpiece for the purpose of lifting the chin clear of the violin. (Nowadays many players commonly use a shoulder rest as well).

Leading violinists in the mid-1800s, such as Pierre Baillot and Giovanni Battista Viotti, endorsed the firmer support that the chin rest provided. The device enabled violinists to hold their instruments horizontally at shoulder height and directly in front of them, while at the same time freeing up the left hand and increasing the flexibility of their bowing.

Violinists, who in pre—chin-rest times had held the left elbow much closer to the instrument than we do today, found that this new position also freed up the wrist and thumb. They had occasionally used the thumb in playing double-stops, but since they no longer needed to grip the violin neck, they placed the thumb-tip in its modern position opposite the A natural on the G string (making it far more flexible in extensions and shifting).

They made this change for a musical reason, not just for necessity or convenience. According to Leopold Mozart, elegance of phrasing was a reason for playing in positions other than first. Tonal quality and colors and varied dynamics were also potent additional motives.

To Use or Not to Use?

Despite its ergonomic and musical advantages, some players have reservations about using a chin rest. A few develop an allergy or irritation to the material used in the mechanism that connects the rest to the instrument—the clamp and screw—and as a result, several makers, such as Wittner and Götz, now offer hypoallergenic titanium screws instead of the sometimes irritating nickel-plated ones. Padded suede cushions or foam pads with adhesive backing also may help alleviate these problems (some Wolf models offer this option).

Others object to using a chin rest because it severs the connection between the oscillating sound of the violin and the player. But this line of reasoning leads to emotive arguments both for and against the use of a chin rest. The anti-chin resters feel they need to have the violin connected to them as directly as possible. Members of the pro camp contend that the instrument speaks more openly when the chin doesn’t obstruct its vibrations. Since timber breathes and plastic does not, some players opt for wood, believing it aids rather than encumbers sound.

But the main argument against the chin rest is that the clamps adversely affect the tonal timbre of the violin and may damage the instrument.

Time to Shop

There are about 50 different types of chin rests on the market, fashioned in a wide variety of sizes, shapes, and contours, and in materials that range from Bakelite, gel, and vulcanite to ebony, boxwood, and rosewood (listed in order of popularity), as well as a light space-age composite hypoallergenic material. Phelps Violins, a British violin dealer, includes illustrations of the many different types of chin rests on its website (www.phelps-violins.com/ accessories/chinrests.html).

How do you choose one that best suits your needs? First, take a "road test." Ask to try three or four different types at home for a week. Play descending scales, arpeggios, dominant, and diminished-seventh passages, and chromatic scales to gauge the difference in shifting with and without a rest. Record the results using the different types of rests. Ask a trusted colleague to listen for differences in timbre. (The clamps rather than the actual rest will have some bearing on the tonal result.)

The most important things in searching for a proper chin rest are comfort and fit. Make sure that your head, neck, and shoulders are relaxed and in alignment. A rest should not cause these components to be out of balance. Ideally, the nose should point straight to the scroll and the neck should be straight. And think of the chin rest as part of the overall package: Catherine Jacops at Frederick W. Oster Fine Violins in Philadelphia points out, "Keep in mind the importance of finding a good combination shoulder rest and chin rest."

Types & Styles

Most violin shops carry a range of the latest styles of chin rests such as Teka, Wolf, Guarneri, Götz, and Suzuki. The most popular styles are Guarneri for over the tailpiece and Kaufmann (larger, flatter styles) for left of the tailpiece. Guarneri has a shallow, ergonomically contoured cup and is the preferred style among my professional colleagues. Ebony is the most preferred wood, followed by boxwood and lastly rosewood.

"By far the most popular [chin rest] type used by professionals is the Guarneri model," says Jim Scoggens of the Orchestra Store in Houston, Texas. "For beginning students, it would be a side-mount Dresden type."

Because of their lower cost, the most popular plastic styles among students are Dresden, Mulko, Guarneri, and Teka.

But there are other options. Wittner (www.wittner-gmbh.de) has produced the "Space Age" rest. It is allergy tested and anatomically designed with an easy-to-use, secure clip-on fitting made from the same light material. It does not require a wrench and thereby avoids damaging the instrument.

The Wolf Maestro chin rest features a skin-friendly leather-like material that alleviates pressure. This special model can be placed to the left or right of the tailpiece or even over the tailpiece by adjusting the screw fitting. The unique Wolf screws fit six sizes from a quarter-size violin to the largest viola (www.wolfproducts.com).

Kaufmann makes a separate, soft "chin comforter" that adheres inside the cup. Other soft pads (the Chin-Chum by Meisel and Strad-Pad by the String Centre) attach easily over the rest to cover sharp edges and increase comfort.

The GelRest chin rest (available in Guarneri style only) is the most recent innovation, taking the concept of a Meisel Chin-Chum or String Centre Strad-Pad to a new level. It is a fabric-covered silicone gel pad built in to the chin rest (www.gelrest.com).

Chin rests also may come with an angle-adjustment option. For instance, the SAS chin rest comes in four heights and can be tilted within a range of about 20 degrees. If you choose a chin rest that fits over the tailpiece, be sure that it sits well and does not bear down on the tailpiece. Taller barrels can be fitted. (This is especially useful for converting violin chin rests to viola size.) Take care not to over-tighten the barrels as this can damage the ribs.

"Finding a proper chin rest can be frustrating, but it can be done," says Robert Sherman of St. Anne’s Hill Violins in Dayton, Ohio. "Choose a chin rest that fits your chin and neck comfortably in your style of playing."

Many dealers and teachers alike suggest trying as many chin rests as possible, and focusing on how each one feels with your instrument and shoulder rest. "Anything different can feel awkward at first," concludes Christopher Quinn of Quinn Violins in Minneapolis. "Only after a few minutes of playing can you be sure if a model is right."

Chin up and happy playing!