What’s the difference between the fiddle and the violin?

The most common answer is that it’s the same instrument, but used in different music styles. The violin is used for classical music and jazz and the fiddle for folk, country and bluegrass. However, there are plenty of classical musicians who call their instrument ‘fiddle’. According to musicologists the violin is a type of fiddle. Let’s clarify all of that.

Are the fiddle and the violin truly the same instrument?

A fiddle used for an Irish jig is indeed the same instrument as a violin used for a gigue by JS Bach. However, the set up of the instrument differs and the playing style and used techniques are different.

Set up of a fiddle vs a violin

At the core, both the fiddle and the violin are identical in construction. They are four-stringed instruments made from wood, typically maple, spruce, and ebony. The strings are tuned in perfect fifths (G, D, A, E), and the sound is produced by drawing a bow, strung with horsehair, across the strings.
While the physical instrument remains the same, the setup can vary significantly between fiddlers and violinists.

Violin Setup:

• Strings: Violinists often use synthetic or gut strings for a warm, rich tone.
• Bridge: Typically has a higher arch to facilitate clear, individual note playing.
• Bow: Violinists may prefer a heavier Tourte design bow for better control in classical techniques and the ability to create a long sustained sound.
• Chin Rest and Shoulder Rest: Positioned for maximum comfort and stability during intricate passages. Classical violinists generally play in higher positions, so their left hand must be able to move more freely over the fingerboard.

Fiddle Setup:

• Strings: Fiddlers might use steel strings for a brighter, more penetrating sound suitable for dance music.
• Bridge: Often flatter to allow for easier double stops and rapid string crossing.
• Bow: Sometimes lighter and more flexible for quick, rhythmic bowing patterns. The bowing technique has a lot of similarities to historically informed baroque performance practice, which also uses a lighter bow.
• Chin Rest and Shoulder Rest: Adjusted for comfort during prolonged playing sessions, often in a more relaxed stance. Amongst fiddlers it’s more common to play without shoulder rest and position the fiddle more on the arm instead of touching the neck of the player.

Besides that the set up of the violin or fiddle needs to match the style of music that’s being played, the set up is also something very personal for a player. The set up of a baroque violinist playing according to historically informed performance practice differs more from a romantic classical violinist than a fiddle used for bluegrass.

Playing technique of a fiddle vs a violin

We’ve discovered that the violin and the fiddle are the same instrument (almost), but they are certainly played in different ways. There’s no right or wrong here, but the playing technique is adjusted to perform a particular style of music in the best way possible.

Keep in mind that playing technique is very personal and highly differs within one genre

A violinist from the Russian school holds the bow in a different way than a violinist trained in Europe. Classical violinists perform music over five centuries and to stay historically accurate each musical style period requires it’s own approach. Fiddle music is also a gather name for the rich history of Irish, Scottish, French, Appalachian, bluegrass, Cajun music and much more.

Holding the Instrument

Violin (Classical and Jazz):

• Posture: Classical violinists typically hold the instrument with a straight back and a relaxed but firm posture. The violin is placed on the shoulder with the help of a shoulder rest, and the chin rests on the chin rest. This is highly personal. Historically no shoulder rests were used until well in the 20th century and still today lots of players prefer to play without a shoulder rest.
• Left Hand Position: The left hand supports the neck of the violin lightly, with the fingers curved and ready to press down on the strings. The thumb is positioned opposite the middle finger for stability. Left hand technique can get very complicated as the whole fingerboard is used in high positions.
• Bow hold: The bow is held with a relaxed hand, with the thumb bent and placed near the frog, and the fingers curved around the bow stick. This grip allows for precise control and a wide range of bowing techniques.

Fiddle (Folk, Bluegrass, Country):

• Posture: Fiddlers often adopt a more relaxed posture, which may vary significantly. The instrument might be held at different angles, sometimes flatter against the chest or lower on the shoulder.
• Left Hand Position: The left hand might grip the neck more firmly, and the thumb may be positioned differently to facilitate rapid movement between strings and fingerings mainly in first position.
• Bow hold: The bow grip can be more flexible and less formal, sometimes held further up the stick. This grip allows for quick, rhythmic bowing and easy transitions between strings. Note that the bow hold is very personal and that these rhythmic bowings and hold further up the stick are used in baroque dances as well. 

Bowing Techniques

Violin (Classical and Jazz):

• Long, Sustained Bows: Classical violinists often use long, sustained bow strokes to produce a smooth, continuous sound, essential for lyrical passages and legato playing.
• Controlled Articulation: Techniques like spiccato (bouncing bow), staccato (short, detached notes), and martele (hammered bow strokes) require precise control over the bow.
• Dynamics: Classical players use a wide range of dynamics, from pianissimo (very soft) to fortissimo (very loud), often within a single phrase.
• Jazz Bowing: Jazz violinists incorporate techniques like swing bowing, syncopation, and sometimes imitate the sound of other instruments. They also employ a wide variety of bowing styles to achieve different timbres and effects.

Fiddle (Folk, Bluegrass, Country):

• Rhythmic Bowing: Fiddlers often emphasize rhythmic bowing patterns to drive the beat, using techniques like the shuffle bow, which involves rapid, rhythmic strokes. However, note that this is quite similar to baroque dance music.
• Double Stops and Chords: Fiddlers frequently use double stops (playing two strings at once) and chords (three or four strings) to create a fuller sound and add rhythmic complexity.
• Drone Notes: Maintaining a constant drone on one string while playing a melody on another is a common technique in fiddle music.
• Less Focus on Dynamics: While dynamics are still important, fiddlers often prioritize rhythm and melody over the wide dynamic range found in classical music.

Playing Techniques Used

Please note that all violin playing techniques mentioned can be used in all genres and are not exclusive to the violin or the fiddle. However, there are techniques that are more typical and more common in certain genres.

Violin (Classical and Jazz):

• High Positions: Classical violinists regularly use higher positions (third position and above) to access a wider range of notes and to play more complex pieces. This requires shifting the left hand up and down the fingerboard. A classical violinist really uses the whole fingerboard.
• Vibrato: A technique where the pitch of a note is subtly varied to create a warmer sound. It is used extensively in classical music to enhance expressiveness.
• Harmonics: Lightly touching the string at specific points to produce high, flute-like tones. This technique is used in both classical and jazz music for its ethereal quality.
• Pizzicato: Plucking the strings with the fingers instead of using the bow. Classical players use both left-hand and right-hand pizzicato, while jazz players often incorporate pizzicato for percussive effects.
• Glissando: Sliding the finger up or down the string to create a smooth transition between pitches. This is used in jazz for expressive, sliding notes.

Fiddle (Folk, Bluegrass, Country):

• Double Stops: Playing two strings at once to create harmonies and add rhythmic drive. This is a staple in many fiddle styles. However, note that double stops, triple stops and chords are also used a lot in classical repertoire.
• Slides: Sliding the finger from one note to another, often used for expressive or ornamental purposes. This technique is common in bluegrass and country fiddling.
• Bow Rocking: Rapidly alternating between two strings, often used to create rhythmic patterns and add excitement to the music.
• Ornamentation: Adding grace notes, trills, and other embellishments to the melody. This is particularly prevalent in Celtic and Appalachian fiddling. This is definitely not exclusive to fiddle playing as authentic baroque performance is also known for it’s ornamentation often improvised by the player.
• Cross Tuning (Scordatura): Tuning the strings differently from the standard G-D-A-E to achieve a particular sound or facilitate certain tunes. This is used in some traditional Appalachian and Scandinavian fiddling styles.

Closing notes

While the violin and the fiddle are essentially the same instrument, the techniques used to play them can vary widely depending on the genre of music. Classical and jazz violinists focus on precision, control, and a wide range of expressive techniques, often playing in higher positions and using complex bowing patterns. Fiddlers, on the other hand, emphasize rhythm, melody, and ornamentation, often using techniques like double stops, slides, and rhythmic bowing patterns to drive the music forward. These differences in technique reflect the diverse musical traditions and cultural contexts in which the violin and the fiddle are played.

Also notice the similarities and that all techniques and playing styles are used interchangeably in different genres. In this blog post I tried to form a general idea about the fiddle and violin repertoire and playing technique, but there are more exceptions as there are rules.

History and Cultural Context

The Origins

The violin, as we know it today, emerged in 16th century Italy, evolving from earlier bowed instruments like the medieval fiddle, rebec, and lira da braccio. The craftsmanship of early Italian luthiers such as Andrea Amati, Antonio Stradivari, and Giuseppe Guarneri set the standard for violin making.

Evolution and Divergence

The term “fiddle” dates back to medieval times and was used to describe various stringed instruments played with a bow. By the 17th century, the violin had become prominent in classical music circles, while the fiddle remained associated with folk traditions.

Classical Violin:

• Integral to orchestras, chamber music, and solo repertoire.
• Repertoire includes works by Bach, Beethoven, Mozart, and many other classical composers.
• Played in formal settings such as concert halls and theaters.

Folk Fiddle:

• Central to folk traditions across Europe and the Americas.
• Styles vary widely: Irish, Scottish, Appalachian, Bluegrass, Cajun, and more.
• Played in informal settings like dances, gatherings, and festivals.

Playing like a fiddler or a violinist?

There’s a lot of overlap between the violin and the fiddle. Often the difference isn’t so clear. To illustrate the differences in playing technique, let’s take a couple of pieces as an example and play it like a violinist or a fiddler.

1. Bach’s Partita No. 3 in E Major, BWV 1006 – “Preludio”

As a Violin Piece:

• Characteristics: Played with precise intonation, refined bowing techniques, and clear articulation. Emphasis on dynamics, phrasing, and expressive nuances that align with Baroque performance practices.
• Setting: Typically performed in a formal concert or recital setting, often accompanied by a harpsichord or another baroque ensemble.

As a Fiddle Piece:

• Characteristics: Performed with a more rhythmic, dance-like quality, potentially with less emphasis on strict adherence to Baroque style. Ornamentation might be added in a more improvisational manner.
• Setting: Could be adapted for a folk setting, possibly with other folk instruments. The focus might be on the lively and rhythmic aspects of the piece.

2. “Orange Blossom Special” by Ervin T. Rouse

As a Violin Piece:

• Characteristics: Played with technical precision, focusing on clear, fast passages and clean transitions. The violinist might incorporate classical bowing techniques and maintain a more controlled sound.
• Setting: Performed in a crossover or classical setting, perhaps as a showpiece in a recital or concert.

As a Fiddle Piece:

• Characteristics: Often performed with a lot of energy, emphasizing the rhythmic drive and fast-paced nature. Bowing is more aggressive and dynamic to highlight the train-like sound effects.
• Setting: Typically played in a bluegrass or country music context, possibly at a jam session or folk festival.

3. “Ashokan Farewell” by Jay Ungar

As a Violin Piece:

• Characteristics: Played with a focus on tone quality and expressiveness. The piece is performed with a lyrical, singing style, paying attention to dynamics and phrasing to convey emotion.
• Setting: Often included in a classical or contemporary classical program, sometimes accompanied by piano or string quartet.

As a Fiddle Piece:

• Characteristics: Played with a heartfelt, simple style, often with a slight folk lilt. The bowing might be more relaxed, and there may be slight variations in melody or rhythm typical of folk interpretation.
• Setting: Commonly played at folk gatherings, weddings, or informal settings where the emphasis is on the melody’s emotional impact.

4. “The Devil Went Down to Georgia” by Charlie Daniels

As a Violin Piece:

• Characteristics: Played with technical mastery, focusing on clarity and precision. The violinist might incorporate classical techniques and present the piece as a virtuosic showpiece.
• Setting: Could be performed in a classical crossover concert or as a novelty piece in a classical recital.

As a Fiddle Piece:

• Characteristics: Performed with a lot of energy and showmanship. The emphasis is on the storytelling and rhythmic drive, with aggressive bowing and a raw, powerful sound.
• Setting: Typically performed in a country, bluegrass, or Southern rock context, often as a highlight at concerts or festivals.

5. “Danny Boy” (Londonderry Air)

As a Violin Piece:

• Characteristics: Played with a focus on beautiful, sustained tones and expressive phrasing. The violinist emphasizes vibrato, dynamics, and emotional depth.
• Setting: Often performed in a classical recital or concert, sometimes with piano or orchestral accompaniment.

As a Fiddle Piece:

• Characteristics: Performed with a simpler, more straightforward approach, possibly with a slight folk ornamentation. The fiddle version might emphasize the melody and its connection to Irish folk traditions.

Setting: Commonly played in folk settings, such as Irish music sessions, community gatherings, or informal performances.

Really a violin is a type of fiddle

What musicologists say…

All right, stay with me as we dive into a rabbit hole. The New Grove Dictionary of Music and Musicians defines “fiddle” as “a generic term for any chordophone [stringed instrument] played with a bow.” This would mean that the violin (and also the ‘fiddle’ we described above), is a type of fiddle. The fiddle is a group of many different instruments. Let’s take a look at all the different fiddles and their cultural context.

9 Types of fiddles and their music

1. Erhu (China)

• Description: The erhu is a two-stringed bowed instrument with a long neck and a small resonating body covered with python skin. It is sometimes referred to as the Chinese violin.
• Type of Music: The erhu is used in traditional Chinese music, including classical Chinese pieces, folk music, and contemporary compositions. It is known for its expressive and haunting sound, often used to convey deep emotions in music.

2. Kamancheh (Persia/Iran)

• Description: The kamancheh is a bowed string instrument with a spherical body, traditionally covered with animal skin, and a long neck. It has four strings and is played vertically.
• Type of Music: The kamancheh is prominent in Persian classical music and folk music of Iran and neighbouring regions. It is known for its rich, warm tones and is often used in both solo and ensemble settings.

3. Sarangi (India)

• Description: The sarangi is a bowed string instrument with a short neck and three main playing strings made of gut, along with up to 37 sympathetic strings. It is played with a bow made of horsehair.
• Type of Music: The sarangi is a key instrument in Hindustani classical music. It is used to accompany vocalists and in solo performances, known for its ability to closely imitate the human voice.

4. Nyckelharpa (Sweden)

• Description: The nyckelharpa is a traditional Swedish instrument resembling a violin but with a series of keys (nyckel) used to change the pitch of the strings. It has three melody strings, one drone string, and 12 sympathetic strings.
• Type of Music: The nyckelharpa is primarily used in traditional Swedish folk music. Its unique sound is also found in contemporary and experimental music genres, providing a link between ancient and modern musical traditions.

5. Gudok (Russia)

• Description: The gudok is an ancient Russian bowed instrument with a flat, pear-shaped body and three strings, played with a bow. It has a distinctive sound and is held in various ways while playing.
• Type of Music: The gudok was historically used in Russian folk music and dance music. It has seen a revival in recent years and is sometimes used in modern folk and historical reenactment performances.

6. Hardingfele (Norway)

• Description: The Hardingfele, or Hardanger fiddle, is a traditional Norwegian fiddle with a unique design featuring additional sympathetic strings beneath the main strings, a decorated fingerboard, and a flatter bridge.
• Type of Music: The Hardingfele is central to Norwegian folk music, particularly in dance music like the Halling, Springar, and Gangar. Its distinctive sound is rich and resonant, often used in solo performance and folk ensembles.

7. Rebab (Middle East, North Africa, Southeast Asia)

• Description: The rebab is a traditional bowed string instrument with a skin-covered body and a long neck. It comes in various shapes and sizes, with different regional variations.
• Type of Music: The rebab is used in a wide range of musical traditions, from Arabic classical music to Javanese gamelan music. Its versatile sound is valued for both melodic and rhythmic contributions to ensemble performances.

8. Gaohu (China)

• Description: The gaohu is similar to the erhu but is smaller and tuned a fourth higher. It has a smaller body and a brighter, more penetrating sound.
• Type of Music: The gaohu is used in Cantonese music and modern Chinese orchestral music. It is known for its lively and bright tone, often featured in solos and leading melodic lines.

9. Morin Khuur (Mongolia)

• Description: The morin khuur, or horsehead fiddle, is a traditional Mongolian bowed instrument with two strings and a distinctive carved horse head at the top of the neck. It is played with a bow strung with horsehair.

Type of Music: The morin khuur is integral to Mongolian