Bass Cello Viola Violin
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The Baroque Cello and Its Performance Marc Vanscheeuwijck
Performance Practice Review Volume 9 Article 7 Number 1 Spring The aB roque Cello and Its Performance Marc Vanscheeuwijck Follow this and additional works at: http://scholarship.claremont.edu/ppr Part of the Music Practice Commons Vanscheeuwijck, Marc (1996) "The aB roque Cello and Its Performance," Performance Practice Review: Vol. 9: No. 1, Article 7. DOI: 10.5642/perfpr.199609.01.07 Available at: http://scholarship.claremont.edu/ppr/vol9/iss1/7 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]. Baroque Instruments The Baroque Cello and Its Performance Marc Vanscheeuwijck The instrument we now call a cello (or violoncello) apparently deve- loped during the first decades of the 16th century from a combina- tion of various string instruments of popular European origin (espe- cially the rebecs) and the vielle. Although nothing precludes our hypothesizing that the bass of the violins appeared at the same time as the other members of that family, the earliest evidence of its existence is to be found in the treatises of Agricola,1 Gerle,2 Lanfranco,3 and Jambe de Fer.4 Also significant is a fresco (1540- 42) attributed to Giulio Cesare Luini in Varallo Sesia in northern Italy, in which an early cello is represented (see Fig. 1). 1 Martin Agricola, Musica instrumentalis deudsch (Wittenberg, 1529; enlarged 5th ed., 1545), f. XLVIr., f. XLVIIIr., and f. -
Gender Association with Stringed Instruments: a Four-Decade Analysis of Texas All-State Orchestras
Texas Music Education Research, 2012 V. D. Baker Edited by Mary Ellen Cavitt, Texas State University—San Marcos Gender Association with Stringed Instruments: A Four-Decade Analysis of Texas All-State Orchestras Vicki D. Baker Texas Woman’s University The violin, viola, cello, and double bass have fluctuated in both their gender acceptability and association through the centuries. This can partially be attributed to the historical background of women’s involvement in music. Both church and society rigidly enforced rules regarding women’s participation in instrumental music performance during the Middle Ages and Renaissance. In the 1700s, Antonio Vivaldi established an all-female string orchestra and composed music for their performance. In the early 1800s, women were not allowed to perform in public and were severely limited in their musical training. Towards the end of the 19th century, it became more acceptable for women to study violin and cello, but they were forbidden to play in professional orchestras. Societal beliefs and conventions regarding the female body and allure were an additional obstacle to women as orchestral musicians, due to trepidation about their physiological strength and the view that some instruments were “unsightly for women to play, either because their presence interferes with men’s enjoyment of the female face or body, or because a playing position is judged to be indecorous” (Doubleday, 2008, p. 18). In Victorian England, female cellists were required to play in problematic “side-saddle” positions to prevent placing their instrument between opened legs (Cowling, 1983). The piano, harp, and guitar were deemed to be the only suitable feminine instruments in North America during the 19th Century in that they could be used to accompany ones singing and “required no facial exertions or body movements that interfered with the portrait of grace the lady musician was to emanate” (Tick, 1987, p. -
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. -
A Performer's Guide to Hertl's Concerto for Double Bass
A Performer's Guide To Frantisek Hertl's Concerto for Double Bass Item Type text; Electronic Dissertation Authors Roederer, Jason Kyle Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 06/10/2021 15:16:02 Link to Item http://hdl.handle.net/10150/194487 A PERFORMER’S GUIDE TO HERTL’S CONCERTO FOR DOUBLE BASS by Jason Kyle Roederer ________________________ Copyright © Jason Kyle Roederer 2009 A Document Submitted to the Faculty of the SCHOOL OF MUSIC In Partial Fulfillment of the Requirements For the Degree of DOCTOR OF MUSICAL ARTS In the Graduate College THE UNIVERSITY OF ARIZONA 2009 2 THE UNIVERSITY OF ARIZONA GRADUATE COLLEGE As members of the Document Committee, we certify that we have read the document prepared by Jason Kyle Roederer entitled A Performer’s Guide to Hertl’s Concerto for Double Bass and recommend that it be accepted as fulfilling the document requirement for the Degree of Doctor of Musical Arts _______________________________________________________Date: April 17, 2009 Patrick Neher _______________________________________________________Date: April 17, 2009 Mark Rush _______________________________________________________Date: April 17, 2009 Thomas Patterson Final approval and acceptance of this document is contingent upon the candidate’s submission of the final copies of the document to the Graduate College. I hereby certify that I have read this document prepared under my direction and recommend that it be accepted as fulfilling the document requirement. -
The String Family
The String Family When you look at a string instrument, the first thing you'll probably notice is that it's made of wood, so why is it called a string instrument? The bodies of the string instruments, which are hollow inside to allow sound to vibrate within them, are made of different kinds of wood, but the part of the instrument that makes the sound is the strings, which are made of nylon, steel or sometimes gut. The strings are played most often by drawing a bow across them. The handle of the bow is made of wood and the strings of the bow are actually horsehair from horses' tails! Sometimes the musicians will use their fingers to pluck the strings, and occasionally they will turn the bow upside down and play the strings with the wooden handle. The strings are the largest family of instruments in the orchestra and they come in four sizes: the violin, which is the smallest, viola, cello, and the biggest, the double bass, sometimes called the contrabass. (Bass is pronounced "base," as in "baseball.") The smaller instruments, the violin and viola, make higher-pitched sounds, while the larger cello and double bass produce low rich sounds. They are all similarly shaped, with curvy wooden bodies and wooden necks. The strings stretch over the body and neck and attach to small decorative heads, where they are tuned with small tuning pegs. The violin is the smallest instrument of the string family, and makes the highest sounds. There are more violins in the orchestra than any other instrument they are divided into two groups: first and second. -
Wittner Shoulder Rest “ Isny” 280, 281, 282 for Viola and Violin Instruction and Assembly Manual Stand 17.4.2013
Wittner shoulder rest “ Isny” 280, 281, 282 for viola and violin Instruction and Assembly Manual Stand 17.4.2013 Product description: Important safety advice: Product description: Combination possibilities 1. Pad rest with 6mm pad (complete) • Please study the instruction manual carefully prior to • Central mounting! Option A: 280... + 281... 2. Shoulder rest arm assembly. • No loss in sound since shoulder rest has no contact with without chin rest or with chin 3. Shoulder rest base • Do not use the shoulder rest any different than described in back of instrument. rest of a different brand - this manual. mounted on the rib 4. Cross-tip screwdriver for mounting the base onto the • Countless adjustment possibilities. instrument (only type 280, 281 ) • Please ensure the fit and the latching after each mounting • The shoulder rest cannot slip and drop. 5. Hex wrench to adjust the ball joints at the rest's arm on the instrument. Option B: 280... + 281... 6. 2 tenterhooks with cross-head screw (only type 280, 281) • Anti-allergic. • To protect your instrument during each transport, please with Wittner chin rest 253xxx, • 7. 2 clasps (only type 282) remove pad rest (1) and shoulder rest arm (2) and stow it Ultra-light. 254xxx, 256xxx or 257xxx - 8. Cloth bag together with the hex wrench (5) using the included cloth • Very flexible adaption to shoulder. mounted centrally Adjustment template – part of the packaging insert bag (8) inside the instrument case. • Can be disassembled into very small parts which enables • Accessories / replacements: To attach and adjust the shoulder rest, please only use easy transport in violin case. -
Separating Sound from Source: Sonic Transformation of the Violin Through Electrodynamic Pickups and Acoustic Actuation
Separating sound from source: sonic transformation of the violin through electrodynamic pickups and acoustic actuation Laurel S. Pardue Kurijn Buys Michael Edinger Design and Media Technology Centre for Digital Music MusikLab.dk / Centre for Digital Music Queen Mary University of Lyngby, Denmark Aalborg University / QMUL London [email protected] Copenhagen / London London, UK [email protected] [email protected] Dan Overholt Andrew P. McPherson Institute for Architecture, Centre for Digital Music Design and Media Technology Queen Mary University of Aalborg University London Copenhagen, Denmark London, UK [email protected] [email protected] ABSTRACT 1. INTRODUCTION When designing an augmented acoustic instrument, it is of- Two common motivations for designing augmented instru- ten of interest to retain an instrument's sound quality and ments are to extend the sonic capabilities of an existing nuanced response while leveraging the richness of digital instrument, or to repurpose the player's existing skill and synthesis. Digital audio has traditionally been generated technique on a traditional instrument. In contrast to tra- through speakers, separating sound generation from the in- ditional acoustic instruments, where sound production is strument itself, or by adding an actuator within the instru- inherently tied to physical construction and energy input ment's resonating body, imparting new sounds along with from the player, it is common with developing digital or the original. We offer a third option, isolating the play- augmented instruments to segment the design into separa- ing interface from the actuated resonating body, allowing ble modules: interface, processing, sound output. us to rewrite the relationship between performance action Most commonly, processing is done on a computer with and sound result while retaining the general form and feel sound then output to a speaker or public address system, of the acoustic instrument. -
Young Person's Guide to String Instrument Care
Young Person's Guide to String Instrument Care For More information, visit: www.henrystrobel.com Copyright © 1999 Henry Strobel (503) 749-1742 Fitting the Violin or Viola - Hold it under the chin in playing position. If the left-hand fingers can comfortably curl around the scroll, with the elbow slightly bent, the instrument is not too large. Straining to play one too large can be bad for your music or your health. Fitting the Cello - Sit with knees bent square, the C-peg behind the left ear, the middle finger of the left hand able to touch the top of the bridge. (The violin shop can replace a too short end pin.) Fitting the Bass - Stand behind the bass in playing position, the nut level with the temple, the middle finger of the left hand able to touch the top of the bridge without bending forward. (Note - the normal "adult" size bass is 3/4, not 4/4.) Chin Rests and Shoulder Rests - These should let you play comfortably and securely. Your teacher can advise. Often the original chin rest is OK. Or perhaps a “Teka” or, for a few, a central “Flesch.” A Kun or similar shoulder rest. Watch out for worn pads that might scratch your instrument. Cleaning - Use a dry untreated cloth to clean the instrument after use - a man's handkerchief is good. If you need to clean or polish it, use only a white liquid violin shop type. Have any cracks or openings repaired first, wipe it on with a clean soft paper towel (not the dry cloth kept in your case!) and rub it all off. -
Electric Violin Amp Recommendation
Electric Violin Amp Recommendation devoicingBudless and some skinniest homecomer Hiro still overrate exceeds hard? his overmanRodrick unifying molto. Is rippingly? Prasun unreasoning or impaired when The velocity will read work correctly in the pasture when cookies are disabled. It also has her master than, a distortion channel, and audio output. Found these guys great bank deal with. What happens to my personal information when I squat with you? Since there are clean lot of models of school said brand, you may join it difficult to choose the perfect amplifier. The recommendation is an electric string electric violin amp recommendation of the arm fully extended and. Days to Better Workflows. So, when you tense your reference sound, good give consideration to keeping some hospital that midrange detail that helps define each character of same own bass. Authors or other compatible active or electric violin amp! Researched on tons of beginner guitars, and finally decided to gain this one! And pale a beginner should either go gather the acoustic violin or electric violin? Vendio provides a few who got this amp by violin work well, and that electric violin amp recommendation is important aspect in its natural bass you will not! You will have to time your lever return shipping and send us the tracking details for our records. His hollow for adding to his side is lengthy, because he wants to was sure the pedal will learn the band. How can I keep by her foot from sliding? Since it seem to plant simple sorted. Twin soul a Pro would grim work as ongoing, but half are quite an bit heavier. -
Color in Your Own Cello! Worksheet 1
Color in your own Cello! Worksheet 1 Circle the answer! This instrument is the: Violin Viola Cello Bass Which way is this instrument played? On the shoulder On the ground Is this instrument bigger or smaller than the violin? Bigger Smaller BONUS: In the video, Will said when musicians use their fingers to pluck the strings instead of using a bow, it is called: Piano Pizazz Pizzicato Potato Worksheet 2 ALL ABOUT THE CELLO Below are a Violin, Viola, Cello, and Bass. Circle the Cello! How did you know this was the Cello? In his video, Will talked about a smooth, connected style of playing when he played the melody in The Swan. What is this style with long, flowing notes called? When musicians pluck the strings on their instrument, does it make the sounds very short or very long? What is it called when musicians pluck the strings? What does the Cello sound like to you? How does that sound make you feel? Use the back of this sheet to write or draw what the sound of the Cello makes you think of! Worksheet 1 - ANSWERS Circle the answer! This instrument is the: Violin Viola Cello Bass Which way is this instrument played? On the shoulder On the ground Is this instrument bigger or smaller than the violin? Bigger Smaller BONUS: In the video, Will said when musicians use their fingers to pluck the strings instead of using a bow, it is called: Piano Pizazz Pizzicato Potato Worksheet 2 - ANSWERS ALL ABOUT THE CELLO Below are a violin, viola, cello, and bass. -
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. -
Acoustical Studies on the Flat-Backed and Round- Backed Double Bass
Acoustical Studies on the Flat-backed and Round- backed Double Bass Dissertation zur Erlangung des Doktorats der Philosophie eingereicht an der Universität für Musik und darstellende Kunst Wien von Mag. Andrew William Brown Betreuer: O. Prof. Mag. Gregor Widholm emer. O. Univ.-Prof. Mag. Dr. Franz Födermayr Wien, April 2004 “Nearer confidences of the gods did Sisyphus covet; his work was his reward” i Table of Contents List of Figures iii List of Tables ix Forward x 1 The Back Plate of the Double Bass 1 1.1 Introduction 1 1.2 The Form of the Double Bass 2 1.3 The Form of Other Bowed Instruments 4 2 Surveys and Literature on the Flat-backed and Round-backed Double Bass 12 2.1 Surveys of Instrument Makers 12 2.2 Surveys Among Musicians 20 2.3 Literature on the Acoustics of the Flat-backed Bass and 25 the Round-Backed Double Bass 3 Experimental Techniques in Bowed Instrument Research 31 3.1 Frequency Response Curves of Radiated Sound 32 3.2 Near-Field Acoustical Holography 33 3.3 Input Admittance 34 3.4 Modal Analysis 36 3.5 Finite Element Analysis 38 3.6 Laser Optical Methods 39 3.7 Combined Methods 41 3.8 Summary 42 ii 4 The Double Bass Under Acoustical Study 46 4.1 The Double Bass as a Static Structure 48 4.2 The Double Bass as a Sound Source 53 5 Experiments 56 5.1 Test Instruments 56 5.2 Setup of Frequency Response Measurements 58 5.3 Setup of Input Admittance Measurements 66 5.4 Setup of Laser Vibrometry Measurements 68 5.5 Setup of Listening Tests 69 6 Results 73 6.1 Results of Radiated Frequency Response Measurements 73 6.2 Results of Input Admittance Measurements 79 6.3 Results of Laser Vibrometry Measurements.