Sarah Cranor , Violinist
Email Sarah: sarahc@sharmusic.com

Sarah Cranor grew up in Gunnison, Colorado and is the oldest of five children who all play string instruments. She just graduated this May from Hillsdale College in Michigan, with a Bachelor of Arts in Violin Performance and Music Theory. While at Hillsdale, she sat as Concertmaster for two years and was very active with her string quartet.  She helped instruct in the Hillsdale Young

Sarah's Thoughts on violin strings
Choosing the right kind of strings can either be a nightmare or be a fun time to experiment with your instrument’s tone color.  Especially for parents new to the string world, it can be very confusing when bombarded with questions about gauge, different types of ends, size of instrument, etc. 

For beginning students, Red Label strings are usually the standard recommendation.  For the same price range, however, I’ve found that the Overture brand strings are not only cheaper, they sound much better!  The set of Overtures is several dollars less than Red Label, and includes an extra E string, so the parent doesn’t have to worry about whether they have a ball end or a loop end.

I put a set of Red Labels and a set of Overtures on an advancing student model violin, and when played side-by-side, the Overtures had much less of the “tinny” sound usually associated with beginning violin.  Both strings stayed in tune fairly easily (they only took about half an hour to break in), but the Overtures had more depth to their sound and by comparison gave the instrument a much more full robust tone.  I would recommend Overtures to any of my beginning students and would invite you to play both brands and see if you agree!

Sarah's Thoughts on violin cases
Cases are one of the most important accessories for a string instrument because they are the only protection the instrument has during transportation.  Growing up in Colorado and going to school in Michigan, my violin spent a fair amount of time in the luggage rack above the seats of an airplane.  When I was shopping for my case, I specifically wanted a case that had suspension, to give the instrument a little extra shock protection, some sort of weather flap (we get a lot of snow in Colorado), pockets for music and accessories, and a hygrometer.

My final case choice was the Heritage Pro: it fit within my price range, which was a mid to upper range case, it had all of the features I needed for my instrument to be safe, and of course, I fell for the interior color (Heritage makes a beautiful red!).  The case weighs a bit more than the lightweight models, but it has the extra protection of a plywood shell.  (When you fill the music pocket full of music, I’ve found the case weight becomes irrelevant anyway.)  The latch has held up well, the zippers keep out the weather, and I haven’t had any trouble taking it on board a flight.  I would recommend adding a second humidifier in dryer climates, because the vapor bottle doesn’t quite humidify enough for Colorado’s air.

Jesse Calcat , Violist
Email Jesse: jessec@sharmusic.com

Jesse Calcat is a violist and native of the Detroit area. He began his musical career with piano lessons at the age of 4 and then began viola studies at age 15. Despite a late start, he accelerated quickly on viola, and had the opportunity to play in Detroit’s Metropolitan Youth Symphony, as well as at the Interlochen Arts Camp. While working towards his Bachelor of Arts in Music for viola performance at Oakland University, Jesse learned violin and cello on the side, and minored in East Asian Studies.

He graduated with this degree in 2005 and is an active performer and teacher in the area.  Jesse has performed regularly in the Pontiac-Oakland Symphony, the Dearborn Symphony Orchestra, the Macomb Symphony, and the Rochester Symphony.  Along with teaching, he especially enjoys accompanying string players at Solo & Ensemble competitions. Jesse also loves authentic Baroque music, and has been studying viola da gamba and Baroque cello since 2005. 

Jesse’s interests outside of classical music include East Asian and Southeast Asian music, languages, and cultures. He plays the erhu (Chinese fiddle) and guzheng (Chinese zither), and has a growing collection of East Asian musical instruments. He has lived in China twice and speaks fluent Mandarin Chinese, as well as smaller amounts of Cantonese, Vietnamese, and Thai. Jesse’s other hobbies include cooking, foreign films, world history, archaeology, and traveling.

Jesse's Thoughts on viola strings
The viola is anything but a typical instrument.  We violists must face challenges with our instruments, bows, and strings that those who play the more acoustically perfect violin and cello will never encounter.   Not only does the viola have a unique sound that is difficult to perfect and balance, but also far fewer products and supplies to choose from than those available for violin and cello.  Strings are no exception, and finding the right viola strings can be a difficult and expensive quest.  While individual violas vary from each other to the extreme, the properties of strings and their materials are consistent.  Steel strings are generally bright with a fast response, and are very pitch-stable.  Rope core strings are just as responsive and pitch-stable as steel strings, but are even brighter.  Gut strings, the oldest and original strings of choice, offer the most complex and dark tone, but are very sensitive to temperature and humidity.   Synthetic core strings are designed to have the rich overtones and depth of gut strings, but are far less sensitive to temperature and humidity changes.  When asked which strings are ‘the best,’ I cannot think of just one answer.  For younger beginners, I recommend a low maintenance string that sounds good and has an excellent response, such as D’addario Helicore and Pirastro Chromcor.  For intermediate and more advanced players who have moved to better instruments, I recommend two brands of synthetic-core strings, depending upon what type of sound is desired.  For those desiring a brighter sound, I recommend Thomastik-Infeld Vision strings.  These are a rather bright, synthetic-core string, that lighten up a dark instrument while simultaneously providing an amazingly deep resonance.  For those desiring a dark sound, I recommend Pirastro Obligato.  Having played on gut strings for years, I consider Obligatos to be the closest in sound and feel, and sound wonderful on almost any instrument.  While synthetic and gut strings are my personal preference, many other violists swear by steel and rope core strings.  It’s all a very personal choice, and I’d encourage all the viola players out there to feel free to experiment.  One violist’s least favorite strings are another violist’s treasure!

Jesse's Thoughts on bows
Choosing the right bow is an extremely important part of getting the most out of playing a stringed instrument.  Even at the beginner and intermediate levels, there are many varieties of bows with unique qualities that can significantly enhance your playing experience.  Generally speaking, there are two primary types of bows: those made from synthetic materials and those made from wood.  Bows made of synthetic materials have the advantage of being very difficult to damage or break.  Their strength makes them a wonderful choice for very young beginners.  The two main types of synthetic bows are fiberglass and carbon fiber.  Fiberglass bows, such as the ubiquitous Glasser bows from New York City, are great for beginning students and young children who desire a strong bow at an affordable price.  Carbon fiber bows offer greater character, flexibility and finesse in addition to strength, while still being affordable.  Wood has been the traditional material of choice for bows for centuries.  Today’s wooden bows are usually made from brazilwood or pernambuco. Brazilwood is simply a generic name that applies to any of a variety of hard woods used in the production of wood bows. Pernambuco is a specific species (Caesalpinia echinata) used in the making of the best wood bows. Either way, only the heartwood, the oldest and densest part of the tree, is used in the making of bows. Since they are natural materials, brazilwood and pernambuco are generally more responsive and flexible than synthetic bows, and many professionals use only bows made of fine pernambuco.  While wooden bows offer superior resilience and response, they are breakable and more fragile than bows made from synthetic materials, and thus are sometimes not the best choice for young beginners.  Which is better?  That’s a question that has no right or wrong answer, as it’s largely a matter of personal preference.  Both synthetic and wooden bows are available in all price ranges.  For young beginners, I recommend the Glasser Brooklyn Classic for a synthetic bow, and the Schmidt Workshop brazilwood bows for a wooden bow.  For older beginners and intermediate students, I recommend the Presto Carbon-Fiber bows for a good synthetic bow, and Meinel Workshop pernambuco bows for a high quality, affordable wooden bow.

Charlie Dwyer , Cellist
Email Charlie: charlesd@sharmusic.com

Charlie Dwyer became a musician at the age of 5, when he begged his parents to give him piano lessons. Once in middle school, he started playing the cello on the side to play in an orchestra. He went to Albion College initially for a music degree in piano, but after one year he switched his major to the cello. He also joined the marching band playing baritone, and the choir singing bass.

He graduated with a double major in Music and Economics & Management as well as a History minor, just before joining the Shar as an Apprentice.  Now at Shar, the one thing Charlie most enjoys is the opportunity to work closely with and learn from professional string players on a daily basis.

Charlie has lived in the Ann Arbor area for all of his life, save for short bouts in Tennessee and New Zealand, and he teaches cello and piano private lessons in this area. In addition to working at Shar and teaching, Charlie travels as much as he can afford, usually to Lake Michigan. In his free time (which he never seems to have enough of), he enjoys cooking, horseback riding, running, tramping, playing Frisbee, swimming, and boating.

Charlie's Thoughts on metronomes and tuners
I have listened to musicians complain about metronomes for almost as long as I’ve played the cello.  The one thing that I hear over and over is that metronomes simply aren’t loud enough to be heard over an instrument.  There are, however, a few brands that are louder than others.  Shar, for example, offers some inexpensive but fairly loud metronomes.  One other important thing to consider when purchasing a metronome is whether it includes a tuner.  Buying both together is more convenient and more cost effective, and in my experience it doesn’t come with any downsides.  The rule of thumb I follow with tuners is that they tend to be more accurate the more money you invest in one.  So, when I shop for a metronome/tuner combo, I look for something that is loud, accurate, and fairly easy to use.  With this in mind, I tend to recommend the Korg Digital Tuner Metronome to students and friends.

Charlie's Thoughts on rockstops and endpins
Cello endpins affect posture and tone more than many players tend to think.  There are three major choices for your endpin.  The typical steel endpin is dense and straight, absorbing some of the vibration and limiting the angle with which you can hold the cello.  Players can, however, select different endpins to circumvent these limitations.  A carbon fiber endpin is one available option – this endpin is much lighter weight, so it tends to brighten a cello’s sound and slightly increase the volume.  The option I use myself is the Stahlhammer endpin, a style popularized by Rostropovich. This endpin bends slightly towards the ground at the base of the cello.  This enables the player to hold the cello at a greater angle allowing more weight to be applied to the bow hand, though it can take a lot of getting used to.  Another less audible benefit of this type of endpin is that it is less likely to slide, as it is angled more directly into the floor.  Playing a cello can be nearly impossible if it is prone to slide, though, so a good rock stop for my endpin has always been a priority for me.  As far as rock stops go, the only way to ensure that the stop simply will not slide is by attaching it by a nylon strap to your chair.  I personally use and recommend the Xeros endpin anchor.

Heather Hanson , Cellist
Email Heather: heatherh@sharmusic.com

Heather Hanson joins the Shar apprentice team from Newark, Delaware, where she recently completed her Master’s in performance at the University of Delaware. During her time in Delaware she played with the graduate string quartet and taught cello to community members and college students. From her studies in chamber music and teaching, Heather has learned that communication is the key ingredient that makes music fun and memorable.

One of Heather’s goals as a classical musician and educator is to reach out to people with minimal exposure to this art form. Her belief is that the future of classical music lies in young people waiting to be exposed to this form of personal expression. She hopes that through her work at Shar she will be able to further this goal!

Heather has had the opportunity to work with many world class teachers. Most recently she studied with Dr. Lawrence Stromberg at the University of Delaware. She studied with Mr. Gregory Sauer at the University of Oklahoma while working on her Bachelor’s degree. Other teachers she has worked with include Judy Shiffers, Bo Li, Einar Holm and Tanya Anisimova.

While music plays a large part of Heather’s life, she also loves to run, swim, cook and read. Chances are if she isn’t working on a Saturday at Shar, you can find her wandering around the Farmer’s Market looking for something to cook up!

Heather's Thoughts on cello cases
It is important to invest in a good cello case for your instrument. Due to its size, a cello is more at risk for damage than a violin. I have a horror story involving an Italian airline and a 19th century German cello. I strongly recommend a hard case for advancing players (and instrument insurance if you travel frequently with your instrument). There are a number of factors that I take into account when searching for the “perfect” case. The first is durability and the second is weight. I have seen many cellists fall into the trap of investing in the “lightest” case or the one with cool back pack straps instead of looking at the strength of the case. Ideally a case is both light and durable, but be sure to check with a knowledgeable person (i.e. Teacher or Shar sales representative) before making a final decision. Check out Shar’s new SL Super-Light Carbon Fiber case in the fall catalog. Not only does it have a strong carbon fiber shell, but it is also very light- a must for busy cellists.

Heather's Thoughts on beginning accessories for any instrument
As a teacher, I believe it is important to educate the “whole” musician. Frequently teachers and students alike get caught up in the mechanics of playing. Be sure to occasionally step back from the instrument and look at the big picture. I like to “cross train” my students by looking at rhythm exercises (“Rhythmic Training” by R. Starer or “Winning Rhythms” by E. Ayola). Singing is essential even for the most bashful students, it helps with musicianship which in turn can help technique. Regular practice is the key to success when learning a string instrument so beginners who may need a little extra practice help can use “The Musician’s Practice Log.” Parents are another big factor in the development of young players. Be sure to be involved in lessons or take your young players to community concerts where they can witness live music!

Thomas La Forgia , Cellist
Email Tom: thomasl@sharmusic.com

Thomas La Forgia, a 22 year old from Charlotte, NC has studied cello for 12 years and piano for 15. He obtained his Bachelor of Music degrees in cello and piano performance with a minor in general business from Appalachian State University in Boone, NC. His primary teachers were Dr. Kenneth Lurie and Dr. Rodney Reynerson on cello and piano respectively. He has participated in master classes with Steven Doane, the Degas String Quartet, and members of

The American Chamber Players. Thomas was fortunate to be a member of the Hayes String Quartet, the graduate string quartet at ASU, while in his undergrad along with sitting principle in the Appalachian Symphony Orchestra and Appalachian Chamber Orchestra. He has extensive experience in various solo, chamber, and early music settings and was winner of the annual Concerto-Aria Competition twice in his four year degree. His other primary teachers are Alex Kramer, Einar Jeff Holm, Jill Fung, Willard Ray, and John Cloer. Thomas was proud to be chosen as a member of Phi Eta Sigma, an academic honor society, in 2004 and Pi Kappa Lambda, a music honor society, in 2006.  He has taught privately since 2004 and is also experienced in collaborative piano and knowledgeable about the Alexander Technique. On the side, Thomas has spent many summers and winters working and researching instrument construction and repair along with basic set up. 

He feels many string players learn over the years how to play around problems their instruments can produce due to improper set up and adjustment. He is excited to be working for Shar sharing his knowledge with customers and learning more about the business side of music everyday.

Thomas' Thoughts on mutes
A commonly forgotten accessory to the string world is the mute.
There are a variety of mutes available with even more varying qualities and prices.  For the orchestra setting, I recommend something that can quickly be put on the bridge such as the Tourte (which I use) or the Glaesel for example.  For a very small amount of more money the Bech Magnetic is excellent, and you're more likely to never loose it!  For practicing at home late at night, I use my ebony mute because it's heavier and dampens the volume more.  The metal mutes dampen the most for close quarters but watch out not to drop it on your instrument!  As for looks, it's a funny joke to use a close pin or a rolled up bill ($1, $5, $10, $20...) to mute your instrument or you can have some “legal fun” in an orchestra setting with the Mouse-Tro, quiet as a mouse!

Thomas' Thoughts on cello strings
Experimenting with strings is a daunting and expensive task so it's good to go into string purchases with a little knowledge.  First of all, it's very important to replace your strings once a year at the minimum.
All strings produce different sounds and have different effects.  Budget can be another factor.  For beginning students, especially those on a budget or that want to make sure they're going to stick with the instrument first, I recommend Chromcor, Prim, Red Label, or Prelude.  All are very durable strings without spending too much.  To upgrade Dominant strings are very popular but a set of Helicore work great as well.  The G and C on Helicore are made with tungsten-silver cores which get a great low sound that resonates and opens up the instrument.  Many cellist have different strings for the A and D than for the G and C such as Pirazzi and Helicore.  A great set across the (finger)board and very popular are Jargar.  They sound great, feel great, and don't burn a whole in the pocket.  The problem is that they are so popular they are hard to hold on to.  A relatively new and very comparable set are the Crown strings.  If Jargars are out next time you order, try the Crown and I don't think you'll be disappointed.  Or course there are other materials that some people like such as gut strings like Eudoxa or Olive that are warm and rich sounding but can go out of tune more often.  With the next step up you'll spend a lot but you get what you pay for.  Spirocore are very popular for the low end because of their tungsten-wound and pair great with Larsen.  The Larsen are arguably some of the smoothest, richest, comfortable strings on the market.  A great experiment for regular Larsen users are the Evah Pirazzi which are fairly new and work nice as a set. If you want more in depth comparisons of all the strings we offer call us and a representative will be happy to talk to you.

Sasha Brandt, Double Bassist
Email Sasha: sashab@sharmusic.com

Sasha Brandt wandered around the musical world before settling on the bass: a couple years of piano, close to a decade of violin, and one summer trying to figure out the mouth harp. When she was twelve, she heard a recording of an electric bassist playing with folk music legend Arlo Guthrie, and deeply confused, thought it was upright bass. It was only during her freshman year of college,

Sasha's Thoughts on bass bows
I'm a bit of a traditionalist when it comes to beginners bows; my preference is always for wood, which in my experience gets a livelier, more exciting sound than other materials. The Brazilwood Student Bass Bow (KBB) can get a great deal of core sound out of the strings, which is just the kind of tone a beginning player needs to learn to produce. For more advanced beginners, a better option might be A. Schmidt Bass Bow (BBH), which will allow for more technique development, while still bringing out a broader tone from the bass.

Still, I admit accidents happen; I once dropped and shattered a pernambuco bow which, embarrassingly, was long past the time I'd given up my beginner title. For very young players, the Glasser fiberglass and Presto carbon-fiber bows may be a more prudent investment.

Sasha's Thoughts on music stands
I'm a total sucker for innovative design ideas. As a result, I'm a little infatuated with both the Peak Collapsible stand, and the Hamilton Trigger.

Occasionally, I've played small gigs on a very short timetable, with limited time between arrival and being on stage. In that case, the Peak Collapsible stand is an excellent choice: it sets up and breaks down very quickly, its microphone-style base is reliably sturdy, the shelf is deep, it fits in a compact carrying case, and the back plate of the stand is filled in—leaving no possibility for music to get caught in joints during quick page turns. . Plus, you will look too cool snapping your stand together in front of awed onlookers.

On the other hand, if you're looking for a more traditional (traditional-looking, at least!) metal stand, you'll be well advised to look into the Hamilton Trigger. The stand itself is heavy, and doesn't swivel easily, making it convenient for orchestral players who need to make frequent notes on their music. Also, the shelf has a double-tray; the top shelf for music, the lower for pencils and erasers! But the real delight of the Trigger is, well, the Trigger; a one-handed clamp that makes raising and lowering your stand while holding an instrument a breeze! As with all steel stands, the Trigger is also magnetic, meaning holding music open during an outdoors performance ceases to be a problem.

Melissa Clark, Double Bassist
Email Melissa: melissac@sharmusic.com

Melissa Clark received her Bachelor of Music in Music education from Iowa State University.  Her major instrument is the double bass, and she can also play the cello and violin.  Orchestras she has played with include: Iowa Youth Philharmonic, Greater Des Moines Youth Orchestra, Iowa All-State Music Festival Orchestra, Iowa State Symphony Orchestra, Central Iowa Symphony, and Fort Dodge Area Symphony.

Melissa and Sasha's Thoughts on bass stands
The Ingles Bass and Cello stand is an excellent choice for stability, and it also adjusts in every direction - a big plus for players with uniquely sized instruments! The neck clamp and curved braces will prevent your instrument from falling forward, while the weighted legs will keep the whole setup securely in place. Also, you can set the stand to accommodate your desired endpin height, leaving you free to pick up your bass and start practicing without any hassle. It's a great choice for households with nosy pets or curious little fingers.

For the jazz bassist on the go, the Gig Stand is a great investment. Though slightly less adjustable than the Ingles stand, it substitutes by being easily collapsible, and comes with a carrying case. Set up is quick and straightforward and your bass will look classy sitting on the back of a stage while you're jamming with an electric solo.

Melissa's Thoughts on bass chairs
Any string teacher can tell you that good sitting posture is vital to making a good sound on your instrument of choice.

Recommendation:
Adjustable Studio Chair – MSC250
Price: $109

Folds easily for carrying or storage.
Durable construction: solid wood seat and very strong steel frame (won’t bend).
The chair has six levels of adjustability to accommodate almost any student. Works well for young violin, cello and bass students.