Hector the Hero

“Hector the Hero” has become a popular fiddle tune in slow 6/8.  Some play it in a more upbeat way, as a waltz, but after learning the history of the tune, I find it difficult to play in any other way than as a lament.

On March 25, 1903, one of the heroes of Victorian Scotland, Hector Macdonald, known as “Fighting Mac,” returned to his room from breakfast at a Paris hotel and shot himself. Two days later, the great fiddler and composer James Scott Skinner wrote one of his most famous and moving tunes, “Hector the Hero.”

Raised in a small town near Dingwall, north of Inverness, Major-General Sir Hector Macdonald had risen quickly through the ranks of the British army, distinguishing himself with feats of daring, discipline and leadership in Afghanistan, Egypt, Sudan, India and South Africa. There were those who dubbed him the greatest Scottish soldier since William Wallace. Macdonald had been appointed aide-de-camp to both Queen Victoria and King Edward VII, and was feted throughout the UK, though his humble origins did not prepare him for the gushing plaudits of society. His high position in the army was made possible by the Cardwell Reforms of 1871, which allowed for promotion based on merit, and abolished the purchase of commissions in the army by well-off seekers of glory who were not always the most qualified of military leaders.

That morning at the Paris hotel, Macdonald was startled to see his photo in the international edition of the New York Herald, accompanied by a story about “grave accusations” of “immorality” against him. Continue reading Hector the Hero

A Bridge Quite Close

The violin bridge is an amazing contraption. Like the first violins in the 16th century, they have hardly changed since then. Let’s look at how it works and how to care for it

The bridge is curved to mirror the curve of the fingerboard, with the higher side holding the G string.  Looking past the fancy curves, you’ll notice that the bridge basically has four holes. Each is beneath a string. Vibrations from the strings can’t go through the holes; they have to pass through the solid wood in the shape of a large X, as in the illustration. The sound vibrations are sent directly to the two feet at the bottom. This has the effect of blending the vibrations rather than allowing some frequencies to travel down one side or the other of the bridge.

The two feet are carved to perfectly match the curvature of the violin. This maximizes the transmission of those sound vibrations through the bridge’s feet as the two feet waddle very fast and send the sound into the top wooden plate of the violin. Someone knowledgeable has to carve the feet to fit each individual instrument. This fit doesn’t always happen for cheap instruments, or unadjusted bridges, or bridges that are warped or leaning. Such violins will work but their sound won’t pass into the wood of the violin efficiently, and this will affect the tone of the instrument.

Where the sound goes

There is a lot of tension on the wood of the violin. It is Continue reading A Bridge Quite Close