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The chinrest was invented by Louis Spohr in the early 19th century, about 1820. [citation needed] Historically, this has been explained as a response to increasingly difficult repertoire which demanded freer left hand techniques than had previously been used; however, Spohr intended his small block attached to the bout to protect the tailpiece, which he reportedly broke with his vigorous playing.
In Morocco the violin is often held completely upright resting on the seated player's thigh with the left hand stabilizing the balance while fingering. The chin rest and shoulder rest accessories come in a great variety of styles and shapes, so each individual may find the combination that best suits their build and playing style.
This can lighten the task of the left hand, enabling smoother and lighter shifting technique. All rests must make a compromise between violin support and freedom (or flexibility in holding the violin). There are both soft rests and rigid rests on the market. The shoulder rest is an invention of the middle part of the 20th century.
A violin consists of a body or corpus, a neck, a finger board, a bridge, a soundpost, four strings, and various fittings.The fittings are the tuning pegs, tailpiece and tailgut, endpin, possibly one or more fine tuners on the tailpiece, and in the modern style of playing, usually a chinrest, either attached with the cup directly over the tailpiece or to the left of it.
The standard way of holding the violin is with the left side of the jaw resting on the chinrest of the violin, and supported by the left shoulder, often assisted by a shoulder rest (or a sponge and an elastic band for younger players who struggle with shoulder rests). The jaw and the shoulder must hold the violin firmly enough to allow it to ...
By the 18th century, the typical position was a little higher, on top of the shoulder, with the chin occasionally making contact with the violin. Chin-rests and shoulder-rests are not used – the chin rest which is universally used on a modern violin was not invented until the early 19th century, though Abbe Fils used some kind of device for a ...
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There is considerable iconography describing these differences, where violinists rest the instrument under the chin, on the shoulder or against the chest, at different angles. Naturally, these differences involved different left hand and bow techniques and, to some extent, defined the style and complexity of the music they could perform. [35]
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