Erhu – Chinese Violin Introduction
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The Science of String Instruments
The Science of String Instruments Thomas D. Rossing Editor The Science of String Instruments Editor Thomas D. Rossing Stanford University Center for Computer Research in Music and Acoustics (CCRMA) Stanford, CA 94302-8180, USA [email protected] ISBN 978-1-4419-7109-8 e-ISBN 978-1-4419-7110-4 DOI 10.1007/978-1-4419-7110-4 Springer New York Dordrecht Heidelberg London # Springer Science+Business Media, LLC 2010 All rights reserved. This work may not be translated or copied in whole or in part without the written permission of the publisher (Springer Science+Business Media, LLC, 233 Spring Street, New York, NY 10013, USA), except for brief excerpts in connection with reviews or scholarly analysis. Use in connection with any form of information storage and retrieval, electronic adaptation, computer software, or by similar or dissimilar methodology now known or hereafter developed is forbidden. The use in this publication of trade names, trademarks, service marks, and similar terms, even if they are not identified as such, is not to be taken as an expression of opinion as to whether or not they are subject to proprietary rights. Printed on acid-free paper Springer is part of Springer ScienceþBusiness Media (www.springer.com) Contents 1 Introduction............................................................... 1 Thomas D. Rossing 2 Plucked Strings ........................................................... 11 Thomas D. Rossing 3 Guitars and Lutes ........................................................ 19 Thomas D. Rossing and Graham Caldersmith 4 Portuguese Guitar ........................................................ 47 Octavio Inacio 5 Banjo ...................................................................... 59 James Rae 6 Mandolin Family Instruments........................................... 77 David J. Cohen and Thomas D. Rossing 7 Psalteries and Zithers .................................................... 99 Andres Peekna and Thomas D. -
To the New Owner by Emmett Chapman
To the New Owner by Emmett Chapman contents PLAYING ACTION ADJUSTABLE COMPONENTS FEATURES DESIGN TUNINGS & CONCEPT STRING MAINTENANCE BATTERIES GUARANTEE This new eight-stringed “bass guitar” was co-designed by Ned Steinberger and myself to provide a dual role instrument for those musicians who desire to play all methods on one fretboard - picking, plucking, strumming, and the two-handed tapping Stick method. PLAYING ACTION — As with all Stick models, this instrument is fully adjustable without removal of any components or detuning of strings. String-to-fret action can be set higher at the bridge and nut to provide a heavier touch, allowing bass and guitar players to “dig in” more. Or the action can be set very low for tapping, as on The Stick. The precision fretwork is there (a straight board with an even plane of crowned and leveled fret tips) and will accommodate the same Stick low action and light touch. Best kept secret: With the action set low for two-handed tapping as it comes from my setup table, you get a combined advantage. Not only does the low setup optimize tapping to its SIDE-SADDLE BRIDGE SCREWS maximum ease, it also allows all conventional bass guitar and guitar techniques, as long as your right hand lightens up a bit in its picking/plucking role. In the process, all volumes become equal, regardless of techniques used, and you gain total control of dynamics and expression. This allows seamless transition from tapping to traditional playing methods on this dual role instrument. Some players will want to compromise on low action of the lower bass strings and set the individual bridge heights a bit higher, thereby duplicating the feel of their bass or guitar. -
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International Conference on Education, Management and Computing Technology (ICEMCT 2015) Birth and Research of Erhu Concerto Jindi Zhang Art College, Shandong University, Weihai, 264209, China Keywords: Erhu; Concerto Abstract. Erhu concerto is a type of music which was born under integration of Chinese and western cultures. It is one of the most typical solo concertos in Chinese national musical instruments. Since the establishment of new China, Erhu concerto has developed rapidly. It gained different development in four historical periods: before the reform and opening-up, 1980s, 1990s and the 21st century. Erhu concerto generates significant influence on development of Erhu music and occupies an important position in development history of Erhu music. Birth of Erhu concerto Since the 20th century, Erhu concerto born under multi-culture development is a kind of new music expression form. It derives from European music, but is different from European music. In 1930s, Erhu divertimento The Death of Yang Yuhuan created by Russian Jewish composer AapoHABUiajiyMOB (1894-1965) consists of 6 songs and adopts the form of Erhu and symphony orchestra. This is the earliest Erhu concerto recorded in the history and originated from the melody of self-created song Evening Scene of Ynag Yuhuan in 1936. In Yearbook of Chinese Music (2002), Mr. Zheng Tisi said in his memoirs that, this works was performed in public in Shanghai Lanxin Theater. The band was Shanghai Municipal Council Orchestra. The outstanding folk music performer Mr. Wei Zhonglei took charge of Erhu solo, and the composer was responsible for commanding. Such manifestation pattern of Erhu music was certain far-sighted in the development of world music and also reflected world culture had walked out of European cultural circle and went to other developing countries. -
Guitar Anatomy Glossary
GUITAR ANATOMY GLOSSARY abalone: an iridescent lining found in the inner shell of the abalone mollusk that is often used alongside mother of pearl; commonly used as an inlay material. action: the distance between the strings and the fretboard; the open space between strings and frets. back: the part of the guitar body held against the player’s chest; it is reflective and resonant, and usually made of a hardwood. backstrip: a decorative inlay that runs the length of the center back of a stringed instrument. binding: the inlaid corner trim at the very edges of an instrument’s body or neck, used to provide aesthetic appeal, seal open wood and to protect the edge of the face and back, as well as the glue joint. bout: the upper or lower outside curve of a guitar or other instrument body. body: an acoustic guitar body; the sound-producing chamber to which the neck and bridge are attached. body depth: the measurement of the guitar body at the headblock and tailblock after the top and back have been assembled to the rim. bracing: the bracing on the inside of the instrument that supports the top and back to prevent warping and breaking, and creates and controls the voice of the guitar. The back of the instrument is braced to help distribute the force exerted by the neck on the body, to reflect sound from the top and act sympathetically to the vibrations of the top. bracing, profile: the contour of the brace, which is designed to control strength and tone. bracing, scalloped: used to describe the crests and troughs of the braces where mass has been removed to accentuate certain nodes. -
Banhu Playing Techniques in Northern China Yun Meng a Thesis Submitted in Partial Fulfillment of Requirements for Degree of Doct
Banhu Playing Techniques in Northern China Yun Meng A Thesis Submitted in Partial Fulfillment of Requirements for degree of Doctor of Philosophy in Music February 2021 Copyright of Mahasarakham University เทคนิคการบรรเลงของซอบา่ นหู ในภาคเหนือ ของประเทศจีน วิทยานิพนธ์ ของ Yun Meng เสนอต่อมหาวทิ ยาลยั มหาสารคาม เพื่อเป็นส่วนหน่ึงของการศึกษาตามหลกั สูตร ปริญญาปรัชญาดุษฎีบัณฑิต สาขาวิชาดุริยางคศิลป์ กุมภาพันธ์ 2564 ลิขสิทธ์ิเป็นของมหาวทิ ยาลยั มหาสารคาม Banhu Playing Techniques in Northern China Yun Meng A Thesis Submitted in Partial Fulfillment of Requirements for Doctor of Philosophy (Music) February 2021 Copyright of Mahasarakham University The examining committee has unanimously approved this Thesis, submitted by Mr. Yun Meng , as a partial fulfillment of the requirements for the Doctor of Philosophy Music at Mahasarakham University Examining Committee Chairman (Assoc. Prof. Wiboon Trakulhun , Ph.D.) Advisor (Asst. Prof. Sayam Juangprakhon , Ph.D.) Committee (Asst. Prof. Peerapong Sensai , Ph.D.) Committee (Asst. Prof. Khomkrit Karin , Ph.D.) Committee (Assoc. Prof. Phiphat Sornyai ) Mahasarakham University has granted approval to accept this Thesis as a partial fulfillment of the requirements for the Doctor of Philosophy Music (Asst. Prof. Khomkrit Karin , Ph.D.) (Assoc. Prof. Krit Chaimoon , Ph.D.) Dean of College of Music Dean of Graduate School D ABSTRACT TITLE Banhu Playing Techniques in Northern China AUTHOR Yun Meng ADVISORS Assistant Professor Sayam Juangprakhon , Ph.D. DEGREE Doctor of Philosophy MAJOR Music UNIVERSITY Mahasarakham University YEAR 2021 ABSTRACT The purpose of this thesis is to study the technique and application of Banhu. The purposes of this study are: 1) to examine the history of Banhu in northern China; 2) to classify banhu according to the difficulty of his playing skills; 3) to analyze selected music examples. -
Nxta Cello Instructions STAND Open the Legs Wide for Stability, and Secure in Place with Thumb Screw Clamp
NXTa Cello Instructions STAND Open the legs wide for stability, and secure in place with thumb screw clamp. Mount the instrument to the stand using the large (5/16”) thumb screw at the top of the stand. Using the adjustment knobs, it is possible to adjust the height, angle, and tilt of the instrument. CONTROLS Knob 1 Volume – rotary control Knob 2 Tone – rotary control, clockwise for full treble, counter-clockwise to cut treble. Dual Output Mode – push-pull control, in for Passive Mode, out for Active Mode. Active Mode – Using the supplied charger, connect the NXTa to any AC outlet for 60 seconds. This will fuel the capacitor-powered active circuit for up to 16 hours of performance time. The instrument can then be plugged straight into any low or high impedance device, no direct box necessary. Passive Mode* – The NXTa can be played in this mode with an amplifier with an impedance of 1 meg ohm or greater (3-10 meg ohm recommended) or with a direct box. Switch Arco/Pizzicato Mode selection, toggle up for Arco, toggle down for Pizzicato The design of the Polar™ Pickup System enables you to choose between two distinct attack and decay characteristics: Arco Mode is for massive attack and relatively fast decay, optimal for bowed and percussive plucked sound. Pizzicato Mode is for a smooth attack and long decay, optimal for plucked, sustained sound. This mode is not recommended for bowing. Note that the Polar™ pickup allows the player to control attack and decay parameters. Pizzicato Mode is for a smoother attack and longer decay when plucked. -
Printer-Friendly Receipt
Printer-Friendly Receipt https://www.musicalamerica.com/news/printarticle.cfm?sid=41537&ci... Wu Man's Pipa Spotlighted with Taipei Chinese Orchestra By Clive Paget , Musical America November 12, 2018 Wu Man, pipa player extraordinaire and founding member of the Silk Road Ensemble, was named Instrumentalist of the Year by Musical America in 2013. Five years on, her Carnegie Hall mainstage appearance with the internationally acclaimed Taipei Chinese Orchestra was both a chance to hear why, and, with the orchestra presenting four representative works in their U.S. premieres, the perfect introduction to the repertoire. Forgive the digression, but for those unfamiliar with the sound and makeup of a “Chinese Orchestra,” here’s a crash course. First, there are a number of key similarities with their Western cousins, chiefly the use of cellos and double basses to create the lower string sounds, but also the inclusion of harp and a common deployment in the percussion of timpani, cymbals, and tam tam. Then there are the similar but different instruments, like the bamboo flutes (the zhongdi and the dadi ), and an array of Chinese percussion, some of it familiar perhaps from “exotic” 20th-century scores like Turandot . Lastly, there are the uniquely Chinese instruments. An array of plucked lute-like instruments that include the pipa , the liuqin , the zhongruan, and the daruan (defined by their different sizes and different numbers of strings) sit alongside hammered and plucked dulcimers and zithers like the yangqin and the guzheng , which add to the characteristically glittering mid-range sound of the orchestra. At the apex of the sound sit the erhus , a phalanx of gentle two-string fiddles (held on the lap and bowed low down) that essentially take the place of violins and violas. -
Some Misconceptions About the Baroque Violin Stewart Pollens
Performance Practice Review Volume 14 | Number 1 Article 6 Some Misconceptions about the Baroque Violin Stewart Pollens Follow this and additional works at: http://scholarship.claremont.edu/ppr Part of the Music Practice Commons Pollens, Stewart (2009) "Some Misconceptions about the Baroque Violin," Performance Practice Review: Vol. 14: No. 1, Article 6. DOI: 10.5642/perfpr.200914.01.06 Available at: http://scholarship.claremont.edu/ppr/vol14/iss1/6 This Article is brought to you for free and open access by the Journals at Claremont at Scholarship @ Claremont. It has been accepted for inclusion in Performance Practice Review by an authorized administrator of Scholarship @ Claremont. For more information, please contact [email protected]. Some Misconceptions about the Baroque Violin Stewart Pollens Copyright © 2009 Claremont Graduate University Much has been written about the baroque violin, yet many misconceptions remain²most notably that up to around 1750 their necks were universally shorter and not angled back as they are today, that the string angle over the bridge was considerably flatter, and that strings were of narrower gauge and under lower tension.1 6WUDGLYDUL¶VSDWWHUQVIRUFRQVWUXFWLQJQHFNVILQJHUERDUGVEULGJHVDQG other fittings preserved in the Museo Stradivariano in Cremona provide a wealth of data that refine our understanding of how violins, violas, and cellos were constructed between 1666- 6WUDGLYDUL¶V\HDUV of activity). String tension measurements made in 1734 by Giuseppe Tartini provide additional insight into the string diameters used at this time. The Neck 7KHEDURTXHYLROLQ¶VWDSHUHGQHFNDQGZHGJH-shaped fingerboard became increasingly thick as one shifted from the nut to the heel of the neck, which required the player to change the shape of his or her hand while moving up and down the neck. -
The Musical Style and Creative Elements of Shaanxi Erhu Works
2019 2nd International Conference on Cultures, Languages and Literatures, and Arts (CLLA 2019) The Musical Style and Creative Elements of Shaanxi Erhu Works Chen Xi School of Music, Shaanxi Normal University, Xi’an 710119, China Email: [email protected] Keywords: Music style, Creative elements, Shaanxi erhu works. Abstract: As one of the representatives of folk musical instruments, Erhu is deeply loved by the general public. Affected by different geographical environments, Erhu has a strong local character in its musical style and performance techniques. These factors not only make the erhu expressive, but also make the music of the erhu more understandable. The material of Shaanxi Erhu music mainly comes from Shaanxi folk music. It not only has the commonality of general erhu music, but also has special local music personality in Shaanxi. This paper explores its artistic features through a brief analysis of the musical style and creative elements of Shaanxi erhu works. This summarizes the artistic value of the music creation and performance of Shaanxi erhu works, clarifies the positive influence of Shaanxi erhu works on the development of erhu art, and provides a direction for future erhu music creation. 1. Introduction As an outstanding representative of Chinese national musical instruments, Erhu has not been able to erase her brilliance after the changes of the times [1]. Nowadays, it has a certain influence in domestic instrumental music performance and even on the international stage, so it must have its extraordinary significance. Most of the erhu works are created or adapted and transplanted by erhu performers, and there are many pieces of music with strong regional style [2]. -
Orchestrating the World - a Manualvico of Intercultural Music Making
Orchestrating the World - a manualVICO of intercultural music making by Moshe Denburg Copyright and Fair Use Notification SAMPLE The author does not object to the use of these materials for personal educational purposes or for any fair use, such as quoting or citing these materials, as long as their authorship is credited by the user. Making copies of these materials as part of any commercial venture, or for any monetary reward, or reproducing the materials for public use, requires the written consent of the author. All reasonable requests will be honoured. © VICO, 2017 Erhu Description The Erhu is a bowed two-stringed instrument. It has a long round neck of hardwood attached to a hardwood resonator, usually covered with snakeskin. Its steel strings are tensioned between the tuning pegs at the neck's upper end,VICO and the lower edge of the resonating box. The speaking length of the string extends from a nut at the peg end of the neck to a bridge placed upon the resonator. The horsehair bow, rosined on both sides, is inserted between the strings, and the strings are played one at a time, virtually never together. The player fingers the strings not by pressing them against the neck but by placing them on the strings lightly, to create different speaking lengths. Tuning d1 - a1 Scordaturas and Extensions 1 1 1 1 In the Erhu db - ab and c -g scordaturas are possible, but an oversize instrument may render lower pitches better. Erhus with extensions are being made, but they are not yet common (as of 2004). -
On Behalf of Teachers, Violin Shops, and Beginning Players Across The
BEWARE OF THE V.S.O. „VIOLIN SHAPED OBJECT‟ On behalf of Teachers, Violin Shops, Beware! The $99.00 violin and Beginning Players across the country, we encourage parents to Welcome to Frank's Violins‟ Comedy avoid the temptation to buy a cheap Corner, a little laugh and a little lesson! internet-auction violin outfit, The $99.00 violin outfit usually features: commonly known as a V.S.O. – Violin • Heavily sprayed lacquer finish, almost Shaped Object. "dipped" in appearance, shiny but not an V.S.O.’s look like violins, but a very high open sound, unusually heavy instrument percentage are virtually unplayable due to weight, sometimes an airbrushed faux finish innumerable structural and set-up problems. that appears to be a highly flamed piece of Many well-meaning parents bring in their wood, also know as "photo flame" V.S.O.’s to violin shops around the country and • Unseasoned or improperly seasoned wood of are disappointed to find out that the repairs questionable origin needed to make their instrument playable far • Stained hardwood fittings (in lieu of solid exceed both the price they paid for the ebony) for the fingerboard, nut, saddle. instrument and the price of a properly made and Often called ebonized or ebonite set up instrument without any of the problems of • Plastic fittings which may include the a V.S.O. tailpiece, chinrest, end button and saddle Common V.S.O. Problems • Poorly fitted thick bridge and sound post Frustrating pegs that are very hard to turn made of soft, unseasoned woods, improper making tuning difficult even for an experienced arching of the bridge makes playing one player or they “slip” causing frustration when string difficult instrument constantly goes out of tune. -
Concert Report on "Golden Chinese Classics of the Century: Parade I"
Yangqin) gradually came in with repeating short Concert report on melodic fragments. Special sound effect was "Golden Chinese Classics produced by the Dizi blowing air across the mouth-hole without producing a specified pitch. of the Century: Parade I" At times flutter tonguing was also applied in 30 Nov 2002 (8pm) producing this kind of airy sound. The sound of Hong Kong Cultural Centre Concert Hall bird calls was also heard throughout the entire © 2002 by Helen Kin Hoi Wong movement, played by the small wind instruments Xun ( 塤). The highlight in the movement was the For the vast majority of Hong Kong sound of Yangqin. The third movement “ The Silk audiences, Chinese music is regarded as Worms Spinning Silk” featured the sound of wind “traditional” and conservative in its instruments (Dizi and Shao) with harmonics of compositional approach. The concert presented the bowed-strings (Gehu and Bass Gehu). The 4 th by the Hong Kong Chinese Orchestra last month movement “Butterflies among the Flowers” proved otherwise. On 30 Nov 2002, the HKCO explored the different colours on the Zheng. The launched its first of 4 series of concerts organized final movement “The Insert World” incorporated by “Golden Chinese Classics of the Century”, the use of all instruments. Themes from the featuring works by Hong Kong composer previous movement reappeared again created an Doming Lam, Chinese composers Liu Xing, interplay which reflected the harmonious Wang Jainmin and Kuan Nai-chung, displaying a co-existence of all insects. mixture of traditional, contemporary and experimental styles. Following all kinds of exotic sounds from The Insect World , a standard concerto work was Under the baton of guest conductor Yu Feng, presented.