How it’s made - Violoncello da Spalla - part 0

Why we decided to share “our secrets” and how to join

Exactly, after months of discussing and pondering, we decided to share our making process, measures, etc.

Why are we doing this?

While there is enormous interest in the Violoncello da Spalla, we also see several “less than acceptable” Violoncello da Spalla on the market, some just ugly, others hardly playable. These instruments are not doing any good to the da spalla world because the people playing them might easily be discouraged, frustrated, and not willing to try with a better instrument. Their audience could also be discouraged and turn their interest elsewhere. The diffusion of low-level instruments on the market could quickly turn into the freezing of interest around the Violoncello da Spalla.

Now, there will always be producers who do not care about delivering a nice and playable instrument. Still, we would like to see fewer luthiers excluded from the result after being brave enough to attempt one.

We want to see more players happy about their instruments and fewer asking for troubleshooting because they have a spalla made by someone uninformed.

Making a completely new instrument requires a considerable investment of time and money in research and not everyone can afford that. Many makers would try anyway, and as information is not accessible easily, they will start from zero. If we all start from zero, we will never reach excellence. Maybe a tiny number of us will. However, the general level will remain lower than expected. Because today’s musicians are very demanding and expectations are very high, it’s more likely that many will give up. And this is a real pity.

If the standard level of Violoncello da Spalla availability increases, it will no longer be a strange, unusual instrument but a special treat for an ensemble or an audience.

Aren’t we afraid to be copied?

We are anyway, so it’s more interesting if it’s done “properly”. If it’s not “copying” (!!) but simply making spallas with the information available so that there is more choice and more variety. We are convinced everyone would benefit. There will always be high end and low end anyway, and the possibility of comparing instruments from different makers will form the taste of players, so that having a spalla will not merely be a matter of playing one octave lower or having one more string, but musicians will be able to find their unique beautiful voice.

It doesn’t really make sense to keep secrets: think about violins: the fact that everybody can easily access all information about a violin, does mine the skills or value of the best makers? Not at all. On the contrary, more information, more variety on the market, and bigger interest are fundamental to maintaining and increasing the value of the best instruments!

So we decided to make a book about Violoncello da Spalla making.

Would you join us?

The thing is, we are very busy, and I cannot really imagine taking one month to sit and write a book. I don’t really enjoy computer work: I am happy when I am at the bench, when I play, sometimes even when I teach karate. Childish as it may seem, I can’t help that if I don’t like what I am doing, this reflects not only on the quality of my work but also on my mood. So, the only possible way to write a book is to do it in small bits.

How to join?

I am now making two new Violoncello da Spalla. I will take notes at every step and share them in paid posts here. Paying subscribers can comment and ask questions, which will help me make corrections or add helpful information. I hope this way, putting together a book will be less lonely and tiring, and the content will be more valuable.

Who is this for?

This will not be a DIY Violoncello da Spalla-making course. I will not teach things like how to make a scroll or how to carve a pegbox. I see it more as a community space for people with experience in violin making who are interested in making a Violoncello da Spalla.

These are the two people I will keep in mind while writing. (It could also be drawing, not writing… it could partially be a cartoon book). One is my friend Marcos, a violin maker in Brazil, who once put down a customer who wanted to commission a Violoncello da Spalla because he didn’t have the time and possibility to source the information. The other is one of my favourite pics from Mondomusica. I don’t know her name, but she’s a violist and a student at the violin-making school, and she said: oh gosh, I have to make myself one.

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Here you can see an example of the format we are planning to use:

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Why on Substack?

We know it’s not the ideal platform; it’s not a membership platform or a start-up funding. But I like Substack because I find thoughtful writing here; I can follow my interests and get informed. Our audience is already here, so why move to another platform? I have no clear idea of the future of this initiative. It’s planned as the preparation for a book, and it may convert into a membership or stay a newsletter as it is now. It really depends on how the path will unfold. I can’t tell now.

Timing?

This coming winter, I am also making a gamba viol, so I will be slow! I plan to have the two spalla and the gamba ready for June so that during the summer, I can edit the book material, proofread it, and hopefully launch the printed book at Mondomusica.

Pricing?

Even this is not decided yet, I am planning to launch the paid newsletter for an accessible price and increase it a bit every time I add content. Those who subscribe will have their fixed price until they stay. The new increased price applies only to new subscribers. The idea is that by June or July, when the information is complete, all the subscribers will have paid around the book's price, which will also be affordable. But the subscribers will have been able to see my notes in advance, ask questions, and hopefully be part of a community. Substack also has community features, like a chat, so we will see what happens next.

What to do now?

If you want to subscribe, you need not take action now; just follow this newsletter. When I publish the first paid post, you will see the “manage subscription” button below the preview, and you can subscribe through it.

We hope you are excited as we are about making together a beautiful looking and beautiful sounding Violoncello da Spalla!

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What will you find in the payed newsletters?

We will not share technical drawings, but all measures and some templates. You will inevitably get to see my processes. We’re not suggesting that you should do the same, in fact you may be more comfortable and in control using different techniques, and that’s totally fine. We’re not trying to set a standard of an instrument that never had one!

The only standards we’d love to see it’s high quality and playability!

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News from da Spalla world

Our dear friend Takumi Takakura fulfilled one of his dreams a few evenings ago! Bach Collegium Japan featured one of his Violoncello da Spalla in a concert celebrating the 300th anniversary of the BWV 115 cantata. Congratulations, Takumi!

At this link his Facebook post

Why this is not happening in Europe? 😫

If you are organizing events or you know someone who could, maybe you are still in time to celebrate the 1725 cantatas. Here you can find a handy chart resuming them:

A handy chart of J. S. Bach’s violoncello piccolo cantatas

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Updates from our workshop

This week I completed the two scrolls of the future da spalla cellos!

Here some work in progress pics. I enjoyed taking pics of all the asymmetrical stages 🤪

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Featured videos of the week

Be inspired by the great music of J. S. Bach, in this wonderful performance:

The Violoncello da Spalla is the perfect companion for folk music players: Mark Wickersham is playing here on an original instrument from 18th century Paris