Bowed strings and sympathy, from violins to indian sarangis Matthias Demoucron, Stéphanie Weisser To cite this version: Matthias Demoucron, Stéphanie Weisser. Bowed strings and sympathy, from violins to indian sarangis. Acoustics 2012, Apr 2012, Nantes, France. hal-00810608 HAL Id: hal-00810608 https://hal.archives-ouvertes.fr/hal-00810608 Submitted on 23 Apr 2012 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. Proceedings of the Acoustics 2012 Nantes Conference 23-27 April 2012, Nantes, France Bowed strings and sympathy, from violins to indian sarangis M. Demoucrona and S. Weisserb aIPEM, Blandijnberg 2, 9000 Gent, Belgium bMus´ee des Instruments de Musique, Montagne de la Cour 2, 1000 Bruxelles, Belgium [email protected] 3593 23-27 April 2012, Nantes, France Proceedings of the Acoustics 2012 Nantes Conference The sarangi is an indian bowed string instrument that is characterized by a large set of sympathetic strings (some- times up to over 30), called taraf, going below the three main strings. The tuning of the taraf varies among players, but generally one part is tuned chromatically and diatonically, while the other part is tuned according to the rag of the musical piece, resulting in a rich and highly reverberant sound when the main strings are bowed. The goal of this research is to determine how the sympathetic strings affect the resulting sound, as well as possible musical, perceptual and aesthetical implications in classical Indian music. Starting from the simple case of western classical violins, in which sympathetic vibrations occur because of the interaction with adjacent open strings, we will ex- amine changes occurring in the timbre of the instrument when one string is allowed to vibrate in sympathy. Then, we will present sound analyses of several sarangis played by various musicians, with and without taraf, in order to characterize the role of the sympathetic strings on the resulting sound. 1 Introduction flat bridge, that can be tuned in very different ways. In com- parison, the violin is a very simple case study, with only four Sympathetic strings are found in a number of bowed strings strings, and the study of resonances may provide basic in- instruments from various cultures and periods. These instru- sights for the analysis of the sarangi. The second reason is ments are played on a few main strings, but auxiliary strings that the role of sympathetic vibrations, the instrument builder are mounted and vibrate in resonance with the tones played considerations and the acoustical aesthetic looked for with by the performer. The most striking example is the sarangi, the two instruments are drastically different. In the classi- an indian instrument which is characterized by a large set of cal violin family, sympathetic vibrations are only a collateral sympathetic strings (between 30 and 35), providing a very effect of the instrument design, while in the sarangi, the sym- resonating sound. But similar instruments can be found in pathetic strings are an essential component of the instrument other traditions, such as the norwegian hardanger (a violin- acoustical identity. This strong discrepancy make the com- like instrument with 5 sympathetic strings under the finger- parison between the two interesting. board), the welsh crwth, or the bulgarian gadulka, among In the following section, we will shortly describe the mech- others. In western art music as well, some bowed string in- anisms of string coupling from a theoretical point of view. struments with sympathetic strings were used in the past, the Then, we will present measurements performed on the violin most famous being the baryton (a cello-like instrument from (Section 3) and the sarangi (Section 4). the viol family, with ten sympathetic strings) and the viola d’amore (a violin-like instrument with 6 or 7 sympathetic strings). Although these instruments were quite popular in 2 Theoretical background on string cou- the european 17th and 18th century, they progressively dis- pling and sympathetic vibrations appeared while instruments from the violin family (without sympathetic strings) were preferred. When a string is excited (i.e. plucked, bowed or ham- This may be a reason why there are very few studies on mered), part of the vibration is transmitted to the instrument bowed strings and sympathy in the scientific literature: most body through the bridge. The amount of the transmission for of the research in the music acoustics field focus on clas- each frequency depends on the design of the bridge and the sical western instruments, and sympathetic vibrations does vibrating properties of the instrument body, and can be char- not affect systematically the vibrating properties of bowed acterized by the bridge admittance. The admittance curve in strings instruments, in contrast with the case of some plucked function of the frequency shows hills, peaks and valleys rep- or hammered instruments, such as harps and pianos. How- resenting specific resonances of the instrument. ever, the fact that bowed string instruments and sympathetic However, most of stringed musical instruments present more strings are associated in many traditions encourages to have a than a single string. Adjacent strings, if there are not damped, closer look to the phenomenon involved by this association. represent strong resonators in which vibration can be trans- The indian sarangi is a striking example, but the classical mitted and stored when excitation frequencies match their violin as well presents some significant effects, with which natural frequencies. The stored energy can then be released, players have to deal. for example when the string is not excited anymore. Con- Focusing on sympathetic vibrations lead to several research sequently, the interaction and energy exchanges between the questions. For example: how do sympathetic vibrations af- excited string and the resonating strings impacts both the vi- fect the vibration of the main string and the sound? From a bration and the sound produced by the instrument. perceptual point of view, we could also try to identify the sig- Note that we use the general term ”string coupling” or ”sym- nal features that make it possible to recognize the presence pathetic vibrations” to designate the general mechanisms in- of sympathetic strings. Another question is to examine how volved in the interaction between different strings belonging musicians deal with these vibrations, and how the latter im- to the mechanical system. ”Sympathetic strings” is used to pact their playing. Finally, from a more ethnomusicological designate more precisely strings that are not intended to be point of view, we could focus on the relation between these played, but to resonate and shape the sound behind the main acoustical properties and the musical aesthetic they partici- strings. pate to. Previous works have described the theoretical basis of string This paper will present basic acoustical observations on the coupling in piano [1] and in string instruments, from a more effect of sympathetic vibration in the violin and the indian general point of view [2]. Researches very often focus on sarangi. There are two reasons for presenting these analy- aftersound, i.e. the influence of string coupling on the de- ses side by side. First, the sarangi is a very complex instru- cay of the sound in plucked or hammered string instruments. ment with many sympathetic strings, some of them with a Coupling between strings and the two directions of vibra- 3594 Proceedings of the Acoustics 2012 Nantes Conference 23-27 April 2012, Nantes, France tion result generally in double-stage decay and/or beatings, Table 1: Summary of expected influences of the resonating which depend on the very fine tuning of the coupled strings. strings on the harmonics of the A tone played on the G These effects have been mainly studied for plucked string in- string. The columns show the first matching harmonic struments like guitars, harps [3, 4], or hammered instruments between the string and the tone (expressed relative to the like pianos [5]. string), and the corresponding harmonic of the A tone. However, the specific case of bowed string instruments have received very little attention. For the violin, Hutchins [6] String Matching harm. Corr. harm. for A showed that the sound level increased by 1-2 dB when the D (294 Hz) 3 (882 Hz) 4 (880 Hz) experimenter damped a string vibrating in resonance to the A (440 Hz) 1 (440 Hz) 2 (440 Hz) played string. Analyzing sounds of a viola d’amore and a E (659 Hz) 1 (659 Hz) 3 (660 Hz) sarangi with and without sympathetic strings, Besnainou et al [7] showed that the amplitude of the decaying sound ex- hibited a perceptible ”rebound” when the sympathetic strings is illustrated in Table 1 for the note A played on the G string. were allowed to vibrate. They also used spectrograms to il- For example, all harmonics multiple of 4 for the tone A will lustrate the varying rates in the decay of harmonics, repre- be affected by the resonating D string. senting the contribution of stored energy in the release of the sound. 3.2 Release of the sound It is often claimed that sympathetic strings provide an enrich- ment of the tone and a feeling of reverberation producing a The most straightforward way to examine sympathetic vi- ”halo of sound”. The purpose of the following sections will brations is to look at the release of the sound when the main be to analyze and illustrate further the effect of sympathetic string is excited, then suddenly stopped.