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World Business Overseas 5/7 Buroshivtalla Main Road, H-13 Bangur Complex, Kolkata – 700038. India Ph: +91-9830798516 . E-Mail: sales @wbomusic.com . Website: www.wbomusic.com wbomusic.com WBO is one of the largest manufacturers of accessories for stringed instruments for over 17 years based in Kolkata, India. We manufacture fingerboards, chinrests, tailpieces, pegs, endpins and other accessories for violin, viola, cello & double bass in ebony, rosewood and boxwood. We invite you to visit our website for more details www.wbomusic.com Tailpieces for Violin, Viola, Cello & Double Bass in Ebony, Rosewood & Boxwood EB VN EB VN EB VN EB VN EB VN RW VL RW VL RW VL RW VL RW VL BX CL BX CL BX CL BX CL BX CL DB DB Harp Tailpiece Harp Tailpiece with Harp Tailpiece Harp Tailpiece with Harp Tailpiece with tuners (Round Style) tuners (Round Style) (Semi HIll Style) tuners (Semi Hill Style) No Fret (Semi Hill Style) EB VN EB VN EB VN EB VN EB VN EB VN RW VL RW VL RW VL RW VL RW VL RW VL BX CL BX CL BX CL BX CL CL CL DB DB DB DB DB DB French Tailpiece Tailpiece with English Tailpiece Round Tailpiece Hill Tailpiece Parisian Eye Tailpiece Hollow / Solid back 1 Flower inlay EB VN Fingerboards & Tailpieces have emerged as our special strength RW VL in over 17 years of our journey in this industry. BX CL We manufacture a very wide range of tailpieces for violin, viola, Hill Tailpiece with buit in adjusters cello & double bass in all sizes with high precision. (Also available in Round, French & English Models) Fingerboards for Violin, Viola, Cello & Double Bass in Ebony Grade A, B & C VN EBONY – Grade A VL EBONY – Grade B CL EBONY – Grade C DB Fingerboards are available in different grades. Our expert selection helps you choose a perfect one for every instrument. EB- Ebony RW-Rosewood BX-Boxwood VN-VIOLIN VL-VIOLA CL-CELLO DB-DOUBLE BASS .

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A Guide to Extended Techniques for the Violoncello - By
Where will it END? -Or- A guide to extended techniques for the Violoncello - By Dylan Messina 1 Table of Contents Part I. Techniques 1. Harmonics……………………………………………………….....6 “Artificial” or “false” harmonics Harmonic trills 2. Bowing Techniques………………………………………………..16 Ricochet Bowing beyond the bridge Bowing the tailpiece Two-handed bowing Bowing on string wrapping “Ugubu” or “point-tap” effect Bowing underneath the bridge Scratch tone Two-bow technique 3. Col Legno............................................................................................................21 Col legno battuto Col legno tratto 4. Pizzicato...............................................................................................................22 “Bartok” Dead Thumb-Stopped Tremolo Fingernail Quasi chitarra Beyond bridge 5. Percussion………………………………………………………….25 Fingerschlag Body percussion 6. Scordatura…………………………………………………….….28 2 Part II. Documentation Bibliography………………………………………………………..29 3 Introduction My intent in creating this project was to provide composers of today with a new resource; a technical yet pragmatic guide to writing with extended techniques on the cello. The cello has a wondrously broad spectrum of sonic possibility, yet must be approached in a different way than other string instruments, owing to its construction, playing orientation, and physical mass. Throughout the history of the cello, many resources regarding the core technique of the cello have been published; this book makes no attempt to expand on those sources. Divers resources are also available regarding the cello’s role in orchestration; these books, however, revolve mostly around the use of the instrument as part of a sonically traditional sensibility. The techniques discussed in this book, rather, are the so-called “extended” techniques; those that are comparatively rare in music of the common practice, and usually not involved within the elemental skills of cello playing, save as fringe oddities or practice techniques.
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The Strings of Paganini
The Strings of Paganini Essay on the use of gut strings in the early Romantic era – an interview with Mimmo Peruffo – By Esther Visser Formation Superieure Abbaye aux Dames 2005-2007 Introduction In his letter from Breslau, 31 July 1829, Paganini writes to a friend in Naples: I need a favour: to be done with care and solicitude. I am without chantarelles […]. Even if they are very thin, they must be made of four strands to endure. Make sure the string is smooth, even and well stretched […]. I beg you to keep an eye on the makers and to do this soon and well.’1 What does this mean? What does he mean ‘using four strands’? And how thin would have been these ‘very thin’ strings? Nicolò Paganini (1782-1840) To find out about these things, I went to Mimmo Peruffo in Vicenza, Italy. He is an expert on the historical production of gut strings. In the last six years many new things have been discovered about gut strings as they were used in the past, and this has recently led to many violinists changing their set-up. For my own choices, and perhaps the reader’s, I would like to know more about these discoveries. Also, I wanted to ask Mimmo Peruffo about a package of strings found in a palace in Genoa in 2002. What does he think about it: are they really Paganini’s? What do these strings say about sound in the early Romantic time? 2 Sources I made use of many articles on the Internet, as the latest discoveries and knowledge in this field are not yet published in books.
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A Guide for Playing the Viola Without a Shoulder Rest Chin Wei Chang University of South Carolina - Columbia
University of South Carolina Scholar Commons Theses and Dissertations 2018 A Guide for Playing the Viola Without a Shoulder Rest Chin Wei Chang University of South Carolina - Columbia Follow this and additional works at: https://scholarcommons.sc.edu/etd Part of the Music Performance Commons Recommended Citation Chang, C.(2018). A Guide for Playing the Viola Without a Shoulder Rest. (Doctoral dissertation). Retrieved from https://scholarcommons.sc.edu/etd/5036 This Open Access Dissertation is brought to you by Scholar Commons. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of Scholar Commons. For more information, please contact [email protected]. A Guide for Playing the Viola Without a Shoulder Rest by Chin Wei Chang Bachelor of Music National Sun Yat- sen University, 2010 Master of Music University of South Carolina, 2015 Submitted in Partial Fulfillment of the Requirements For the Degree of Doctor of Musical Arts in Performance School of Music University of South Carolina 2018 Accepted by: Daniel Sweaney, Major Professor Kunio Hara, Committee Member Craig Butterfield, Committee Member Ari Streisfeld, Committee Member Cheryl L. Addy, Vice Provost and Dean of the Graduate School © Copyright by Chin Wei Chang, 2018 All Rights Reserved ii DEDICATION This dissertation is dedicated to my dearest parents, San-Kuei Chang and Ching-Hua Lai. Thank you for all your support and love while I have pursued my degree over the past six years. iii ACKNOWLEDGMENTS I truly appreciate the director of the dissertation, Dr. Daniel Sweaney, for his advice, inspiration, and continuous encouragement over the past four years.
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Vibration Modes of the Cello Tailpiece Eric Fouilhe, Giacomo Goli, Anne Houssay, George Stoppani
Vibration Modes of the Cello Tailpiece Eric Fouilhe, Giacomo Goli, Anne Houssay, George Stoppani To cite this version: Eric Fouilhe, Giacomo Goli, Anne Houssay, George Stoppani. Vibration Modes of the Cello Tailpiece. Archives of Acoustics, Committee on Acoustics PAS, PAS Institute of Fundamental Technological Research, Polish Acoustical Society, 2011, 36 (4), pp.713-726. 10.2478/v10168-011-0048-2. hal- 00804249 HAL Id: hal-00804249 https://hal.archives-ouvertes.fr/hal-00804249 Submitted on 28 Apr 2021 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. Distributed under a Creative Commons Attribution| 4.0 International License ARCHIVES OF ACOUSTICS DOI: 10.2478/v10168-011-0048-2 36, 4, 713–726 (2011) ( ) Vibration Modes of the Cello Tailpiece ∗ Eric FOUILHE(1), Giacomo GOLI(2), Anne HOUSSAY(3), George STOPPANI(4) (1)University of Montpellier 2 Laboratory of Mechanics and Civil Engineering French National Centre for Scientiﬁc Research (CNRS) France e-mail: [email protected] (2)University of Florence Department of Economics, Engineering, Agricultural and Forestry Science and Technology (DEISTAF) Florence, Italy (3)Music Museum, City of Music Paris, France (4)Violin maker, acoustician researcher Manchester, United Kingdom (received January 16, 2011; accepted September 20, 2011) The application of modern scientiﬁc methods and measuring techniques can ex- tend the empirical knowledge used for centuries by violinmakers for making and adjusting the sound of violins, violas, and cellos.
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Dorico Popovers 1.1.10
Popovers in Dorico Version 1.1.10, July 2017 Bars and barlines (Shift+B) Add bars +24, i.e. + followed by the number of bars to add Delete bars -8, i.e. - followed by the number of bars to be deleted Bar rest rest Single barline | or single Double barline || or double Start repeat barline |: or start End repeat barline :| or end Start-end repeat barline :|: or :||: or end-start or endstart Dashed barline : or dash Tick barline ‘ or tick Final barline |] or fin Short barline , or short Clefs and octave lines (Shift+C) Treble G clef g G treble Bass F clef f F bass Tenor C clef ct CT tenor Alto C clef ca CA alto Treble G clef, 8 below g8ba G8ba g8d G8d treble8ba treble8d Treble G clef, 15 below g815ba G15ba g15d G15d treble15b treble15d Treble G clef, 8 above g8va G8va g8u G8u treble8vaa treble8u Treble G clef, 15 above g15ma G15ma g15u G15u treble15 treble15u Alto C clef, 8 below ca8ba CA8ba alto8ba ca8d CA8dma alto8d Tenor C clef, 8 below ct8ba CT8ba tenor8ba ct8d CT8d tenor8d Bass F clef, 8 below f8ba F8ba bass8ba f8d F8d bass8d Bass F clef, 15 below f15ba F15ba bass15ba f15d F15d bass15d Bass F clef, 8 above f8va F8va bass8va f8u F8u bass8u Bass F clef, 15 above f15ma F15ma bass15ma f15u F15u bass15u Unpitched percussion perc 4-string tablature tab4 6-string tablature tab6 Baritone bass baritonebass Baritone baritone Mezzo soprano clef mezzo Soprano G clef soprano Sub-bass clef subbass Invisible clef invisible Dynamics (Shift+D) Because you can enter dynamics quite freely, this is not comprehensive, but rather suggestive of the things you can enter: to pppppp to p mp mf to f to ffffff ( ) (f) < > cresc.
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Violin Settings
La Roche-sur-Foron, Workshop Bluegrass 2014 [email protected] Violin settings 1 – About acoustics 1.1 Perception of the human ear Average perception at 40dB (IEC 61672-1) 45 Frequency range of the violin : 40 G : 196 Hz 35 D : 294 Hz A : 440 Hz 30 E : 659 Hz 25 4th finger on E in 1 st position : D 987.77 Hz 20 4th finger on E in 3 rd position : D 1174.66 Hz 15 Loudness Loudness (dB) 10 5 Example: a G note played at 40 dB will be heard at 30 dBa only. 0 20 200 2000 Sound frequency (Hz) 1.2. Sound Evaluation Describing and evaluating the sound of an instrument is a tough job. Let’s focus on 4 easy-to-understand criteria: Projection Ability to convert the mechanical power provided by the musician into acoustic power. Evaluation : play at varying power , the acoustic power should continue increasing notably with your playing power, up to your maximum power. Weak apathetic sound Loud deafening sound Clarity The way the notes are distinguished from each other in a musical phrase. Evaluation : Play a sequence of quick slurred notes up and down. Blur and muddy sound Clear contras ted sound Tone Sensation of sweetness or hardness provided by the sound. Evaluation : play a variety of musical phrases in different styles, from slow and languishing to fast and aggressive. Fat basses and nasal tre bles Dry basses and shrilly treb les Sustain Absolute duration of a picked note (pizzicato). This criterion is not a focus for the sounding qualities but it gives precious indications on some mechanical aspects.
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Cremonese Burled Violin
Page Violin Apprentice....................5 - 6 Craftsman.....................7 - 1 3 Artisan......................14 - 1 8 F. Master.......................21-24Vitelli Viola Apprentice....................5 - 6 Craftsman.....................7 - 1 1 Artisan.......................1 4 , 1 9 - 2 0 Master.........................21-24 Cello Apprentice....................25-26 Craftsman.....................2 7 - 2 8 Artisan.....................29-32 Master.........................33-36 Bass Apprentice........................37 Craftsman.....................3 8 - 4 0 Accessories Bows............................41-44 Cases.......................4 5 - 5 6 Rosin..........................5 7 Fittings....................59-64 Shoulder Rests...................5 8 Model 110 Model 130 ▪ Durable golden-brown varnish ▪ Otto tailpiece with four fine tuners ▪ Ebony fingerboard, pegs, and chinrest ▪ Professional quality hand-applied spirit varnish ▪ Set-up with D’Addario Prelude strings ▪ Fully hand-carved with seasoned spruce ▪ Otto tailpiece with four fine tuners top and flamed curly-maple back ▪ Fully hand-carved with seasoned spruce ▪ Outfit includes brazilwood bow and top and maple back No. 2001 case ▪ Outfit includes brazilwood bow and ▪ 4/4 and 3/4 violins set-up with perlon No. 1001 case strings; smaller violins and violas set up with D’Addario Prelude strings VIOLIN: 1/4–4/4 LIST: $199.00 VIOLIN: 1/16–4/4 LIST: $1,029.00 VIOLA: 12”–16.5” LIST: $239.00 VIOLA: 12”–16.5” LIST: $1,029.00 Model 120 Model 140 ▪ Durable golden-brown varnish ▪ Otto tailpiece with four fine tuners ▪ Ebony fingerboard, pegs, and chinrest ▪ Parisian-eye end-button and pegs ▪ Set-up with D’Addario Prelude strings ▪ Professional quality hand-applied spirit varnish ▪ Otto tailpiece with four fine tuners ▪ Fully hand-carved with seasoned spruce ▪ Fully hand-carved with seasoned spruce top and flamed curly-maple back top and maple back ▪ Outfit includes brazilwood bow and ▪ Outfit includes brazilwood bow and No.
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Finding the Balance with Proper Chinrest and Shoulder Rest Combinations
Sound Setup with Kayleigh Miller, Part 2: Finding the Balance with Proper Chinrest and Shoulder Rest Combinations Dr. Laurel Yu, viola— [email protected] Valdosta State University Assessing the Set-up Check angles between instrument and body 1. Instrument plane to floor (how parallel or not) 2. Tilt of the instrument against the button 3. Where the instrument lies over the shoulder to chest 4. Position of instrument against the Jaw line (right, center, left) 5. Vertical position of instrument to neck (distance of instrument top or bottom to Jaw line or collarbone) Finding neutral using body awareness and symmetry Measure the size of neck Distance between the collarbone and chin Distance between collarbone and Jawline Based on measurements, start experiment with different chinrest and shoulder rest combinations (Some Popular) Shoulder Rests – most to least adjustability Name Pros Cons Kun (Bravo, -Subtle curve -Feet slide off easily, not Collapsible, -Extended feet good for broader Classic) available shoulders. May need -Classic and rubber bands to support Collapsible: more feet. flexible plastic Wolf Forte Very adjustable, good Not good for broad Secondo for height with long shoulders. Some feel like necks. Pad is bendable, the shoulder rest digs into flexible, can move shoulder or chest. along shoulder easily. Everest Lots of padding, Can dig into collarbone or extended feet chest because curves available. Ergonomic down, can’t tilt or bend. curve to shoulder. Not great for players who want shoulder rest to sit on top of shoulder. Kun Solo -Very light, padding -Have discovered not great grabs onto fabric for narrow shoulders, can nicely.
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Excerpt Excerpt Do You Hear Me? Handbook for Violin Contemporary Music Notation
excerpt excerpt Do you hear me? Handbook for violin contemporary music notation by Dejana Sekulić excerpt Author’s Note: This might be a work with no end, as it is almost impossible to think of there could be an end of this research, and of this essay. Every new sign, sonority, color, timbre... experience in reading and playing, becomes additional material. With (almost) each new piece, there will be new additions, especially to the segment “Notation: see me-hear me-make me”. It is, as well, very excerptlikely that new chapters will arise, both on left and right hand technique, as well as marks on other sonority and timbre remarks. This publication captures this research at this point in time, and should not be considered as the ultimate statement, but the base on which the future findings will be added on. Special thank you to Barbara Maurer, Marc Danel, Graeme Jennings and Bart Bouckaert. Brussels, 2013 This is an ongoing research, therefore the second edition of the essay is in preparation. Revisions and new chapters currently in preparation: John Cage ●Freeman Etudes Brian Ferneyhough ●Unsichtbare Farben ●Superscriptio – Carceri excerptd’Invenzione I Helmut Lachenmann (Extended) Salvatore Sciarrino ●Sei Capricci ●Sound production (will include “Right hand” chapter, updated and expanded with: *Prepared violin/sound producers beyond bow and right hand; *Bow - point of contact and different pressures; *Sound granulation; *Movement - understanding new physical demands Brussels, 2014 excerpt Table of contents: Introduction Beautiful noise
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Non-Traditional String Sound Resources My Notes in the Score | Bibliography
Non-Traditional String Sound Resources My Notes in the Score | Bibliography NOTE: This is a collection of symbols indicating non-traditional ways of creating sounds on traditional stringed instruments. Aside from the Bartók pizz —which has moved into general practice—the entries are from Penderecki's, Threnody for the Victims of Hiroshima. Bartók pizz: Also called snap pizz. Right hand pulls the string away from the fingerboard and releases, causing a snapping sound. Bartók pizz. sharpen a quarter tone sharpen three quarter tones flatten a quarter tone flatten three quarter tones 1 highest note of the instrument (no definite pitch) play between bridge and tailpiece arpeggio on four strings behind the bridge play on the tailpiece (arco) by bowing the tailpiece at an angle of 90° to its longer axis play on the bridge by bowing the wood of the bridge at a right angle at its right side Percussion effect: strike the upper sounding board of the violin with the nut or the fingertips several irregular changes of bow molto vibrato 2 very slow vibrato with a 1/4 tone frequency difference produced by sliding the finger very rapid non rhythmisized tremelo ord. - ordinario; cancel previous special instructions s.p. - sul ponticello; play on the bridge s.t. - sul tasto; play on the fingerboard c.l. - col legno; play with the wood of the bow l. batt. - legno battuto; play by striking the wood At first glance, these last two entries (col legno and legno battuto), seem to be the same thing. In the Threnody score, however, the legno battuto is associated with "arpeggio on four strings behind the bridge" (graphic, right).
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Wooden Musical Instruments - Different Forms of Knowledge Marco Pérez, Emanuele Marconi
Wooden Musical Instruments - Different Forms of Knowledge Marco Pérez, Emanuele Marconi To cite this version: Marco Pérez, Emanuele Marconi. Wooden Musical Instruments - Different Forms of Knowledge: Book of End of WoodMusICK COST Action FP1302. Marco A. Pérez; Emanuele Marconi. 2018, 979-10-94642-35-1. hal-02086598 HAL Id: hal-02086598 https://hal.archives-ouvertes.fr/hal-02086598 Submitted on 1 Apr 2019 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. Musical instrument are fundamental tools of human expression of Knowledge Forms — Diferent Instruments Musical Wooden that reveal and reflect historical, technological, social and cultural aspects of times and people. These three-dimensional, polyma- teric objects—at times considered artworks, other times technical objects—are the most powerful way to communicate emotions and to connect people and communities with the surrounding world. The participants in WoodMusICK (WOODen MUSical Instrument Conservation and Knowledge) COST Action FP1302 have aimed to combine forces and to foster research on wooden musical instruments in order to preserve, develop and disseminate knowledge on musical instruments in Europe through inter- and transdisciplinary research. This four-year program, supported by COST (European Cooperation in Science and Technology), has involved a multidisciplinary and multi-national research group composed of curators, conservators/restorers, wood, material and mechanical scientists, chemists, acousticians, organologists and instrument makers.
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Supporting Your Instrument in a Body-Friendly Manner
Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2014 Supporting your instrument in a body-friendly manner : a comparative approach Emanuela Maria Lacraru Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the Music Commons Recommended Citation Lacraru, Emanuela Maria, "Supporting your instrument in a body-friendly manner : a comparative approach" (2014). LSU Doctoral Dissertations. 2829. https://digitalcommons.lsu.edu/gradschool_dissertations/2829 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. SUPPORTING YOUR INSTRUMENT IN A BODY-FRIENDLY MANNER: A COMPARATIVE APPROACH A Monograph Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in The School of Music by Emanuela Maria Lacraru B.M., Bucharest National University of Music, 2003 M.M., Southeastern Louisiana University, 2005 M.M., West Chester University of Pennsylvania, 2007 May 2014 To my husband, LLOYD LUCIEN THOMAS ii ACKNOWLEDGEMENTS I would like to express my gratitude to many people who made it possible for me to write this document, and to complete my doctoral studies at Louisiana State University. This proved more challenging than I would have thought, because of a performance injury that I sustained during the first year, which had long-term consequences.
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