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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. -
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. -
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. -
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. -
The BEST $500 VIOLIN
Serving All Levels Of Players The SHAR Connection Just Starting A Global Network Have questions about instruments? SHAR’s purchasing agents are string players, and they Only Musicians Answer the phone at travel the globe to work directly with our partner SHAR 800.248.7427 workshops. For nearly 50 years we have established longstanding relationships with the world’s leading makers and workshops in America, Europe, and Asia. How can I tell the quality of my student violin? Of course, a violin must sound good in order to From the wood selection to the acoustic models motivate your young student. But a high quality used, from the neck shapes to the various varnish instrument must also have easy-turning pegs that stay properties, our purchasing agents work with our in tune. The bridge, fingerboard, nut and soundpost partners to ensure that every detail is crafted to our must be carefully shaped and fit so that the violin is specifications. Our world-wide logistics network also easy to play and feels good to the hand. guarantees that our instruments and bows arrive here in Ann Arbor in ideal, safe condition. What makes one violin more expensive than another? The two biggest factors are the quality and age of the wood and the skill of the makers. Only a skilled maker is able to make all the parts fit together The SHAR Setup properly so the violin will work perfectly. Where Millimeters Count What size violin does my child need? That is best answered by the child’s teacher. The musicians who SHAR’s own Setup Shop, Restoration and Repair answer the phone at SHAR are well qualified to make department, staffed by experienced luthiers and a recommendation based on your child’s age and arm technicians, ensures each instrument is in healthy, length, but there’s no substitute for having a good stable condition and adjusted for optimal tonal response. -
Meet the String Family
Quapaw Quartet Presents Meet the String Family Instruments of the String Family There are three string instruments played by the four members of the Quapaw Quartet: Two violins, one viola, and one cello. The full orchestra includes two additional string instruments, the double bass and the harp. Except for the harp, these instruments are played by the right hand, either with a bow or plucking the strings with your fingers. [See short examples of all five instruments on YouTube played by college students at the University of Texas: String instruments of the orchestra www.youtube.com/watch?v=RxFNHeXKmrY May 22, 2011.] The violin, sometimes called the fiddle, is the smallest of the instruments in the The String Family string quartet. It is played by resting the belly of the instrument on your left shoulder, placing your chin on the chinrest, and holding the neck, or the skinnier part, of the violin in your left hand. Violins play the highest notes because its strings are the shortest and thinnest of all string instruments. The viola is the medium-sized instrument endpin in the string quartet and plays lower notes than the violin. This is because its strings The cello and double bass are actually much larger are longer and thicker than those on the compared to the violin and viola than it looks like in this violin. It is held the same way as a violin illustration. and looks exactly like a violin except for that fact that it is slightly larger. The cello (also called the violincello) is the largest instrument in the string quartet and plays the lowest notes. -
AISD Orchestra Instrument Selection Guide
AISD Orchestra Instrument Selection Guide All 5th grade students entering orchestra will be selecting one of the 4 instruments listed below. Violin The violin is the smallest string instrument and the highest in pitch. It is a very popular choice each year. Violinists typically play melody lines in orchestra music. Physical Characteristics: The violin, along with all the string instruments, is made out of wood and is hollow inside, which allows sound to vibrate. You play the violin by resting it between your chin and left shoulder. Your left hand holds the neck of the violin and presses down on the strings to change the pitch, while your right hand moves the bow or plucks the strings. Other Considerations: Finger nails need to be kept short at all times so the fleshy part of the fingertips are able to press down accurately on the fingerboard. Additionally, violinists will need to get a shoulder rest, which attaches to the edge of the back of the violin. It prevents the violin from slipping off the shoulder and adds comfort by adding height to the shoulder. Viola The viola is the older sister or brother of the violin. It is slightly larger, just over two feet long, and has thicker strings, which produce a richer, warmer sound than the violin. The viola is very important to the orchestra because of its beautiful and lush tone. Physical Characteristics: You play the viola the same way as you do the violin, by resting it between your chin and shoulder. Your left hand holds the neck of the viola and presses down on the strings to change the pitch, while your right hand moves the bow or plucks the strings. -
Violin, I the Instrument, Its Technique and Its Repertory in Oxford Music Online
14.3.2011 Violin, §I: The instrument, its techniq… Oxford Music Online Grove Music Online Violin, §I: The instrument, its technique and its repertory article url: http://www.oxfordmusiconline.com:80/subscriber/article/grove/music/41161pg1 Violin, §I: The instrument, its technique and its repertory I. The instrument, its technique and its repertory 1. Introduction. The violin is one of the most perfect instruments acoustically and has extraordinary musical versatility. In beauty and emotional appeal its tone rivals that of its model, the human voice, but at the same time the violin is capable of particular agility and brilliant figuration, making possible in one instrument the expression of moods and effects that may range, depending on the will and skill of the player, from the lyric and tender to the brilliant and dramatic. Its capacity for sustained tone is remarkable, and scarcely another instrument can produce so many nuances of expression and intensity. The violin can play all the chromatic semitones or even microtones over a four-octave range, and, to a limited extent, the playing of chords is within its powers. In short, the violin represents one of the greatest triumphs of instrument making. From its earliest development in Italy the violin was adopted in all kinds of music and by all strata of society, and has since been disseminated to many cultures across the globe (see §II below). Composers, inspired by its potential, have written extensively for it as a solo instrument, accompanied and unaccompanied, and also in connection with the genres of orchestral and chamber music. Possibly no other instrument can boast a larger and musically more distinguished repertory, if one takes into account all forms of solo and ensemble music in which the violin has been assigned a part. -
Welcome to Instrument Night!
Welcome to Instrument Night! “ta” . not “tmiller” Mrs. Tani R. Miller, Director of Orchestras Hershey Elementary School [email protected] HES Orchestra Social Media & Orchestra Website Instagram • chocolatetownfiddlers • https://www.instagram.com/chocolatetownfiddlers/ • A few fun photos of kids in orchestra. Edublog • Chocolatetown Fiddlers • http://chocolatetownfiddlers.edublogs.org • The new primary page for communication with parents & students. • Facebook • Tani Miller in Hershey, PA* • https://www.facebook.com/profile.php?id=100013294788523 • Communication with parents and the Hershey community. • *this name will soon change to Chocolatetown Fiddlers . when FB allows me to do so! ;o) DTSD Teacher Site • Tani Miller, on the intermediate staff page • http://www.hershey.k12.pa.us/Domain/281 • May soon simply have a link to my Edublog site. Welcome from Mrs. Miller! Thank you for your interest in enrolling your child in our elementary school orchestra program. In the last 13 years, our program has grown from an initial 34 students to between 150-250 students each year. Our students demonstrate much learning and musical growth in their time spent learning to play a string instrument. This packet of information will include lots of answers to your questions. Read carefully. This will be posted all year long so you may refer back to this document. Yes, playing an instrument requires a financial commitment. Our music teachers have researched instrument brands with the goal of seeking out quality instruments that allow for success in music-making but also that are of a reasonable cost. Please feel free to dialogue with music teachers should you see an instrument and wonder if it is a good deal. -
History of the Violin
History of the Violin Batchelder violin (USA) The earliest stringed instruments were mostly plucked (the Greek lyre). Bowed instruments may have originated in the equestrian cultures of Central Asia, an example being the Kobyz (Kazakh: қобыз) or kyl-kobyz is an ancient Turkic, Kazakh string instrument or Mongolian instrument Morin huur: Turkic and Mongolian horsemen from Inner Asia were probably the world’s earliest fiddlers. Their two-stringed upright fiddles were strung with horsehair strings, played with horsehair bows, and often feature a carved horse’s head at the end of the neck. The violins, violas, and cellos we play today, and whose bows are still strung with horsehair, are a legacy of the nomads. It is believed that these instruments eventually spread to China, India, the Byzantine Empire and the Middle East, where they developed into instruments such as the erhu in China, the rebab in the Middle East, the lyra in the Byzantine Empire and the esraj in India. The violin in its present form emerged in early 16th-Century Northern Italy, where the port towns of Venice and Genoa maintained extensive ties to central Asia through the trade routes of the silk road. The modern European violin evolved from various bowed stringed instruments from the Middle East and the Byzantine Empire. It is most likely that the first makers of violins borrowed from three types of current instruments: the rebec, in use since the 10th century (itself derived from the Byzantine lyra and the Arabic rebab), the Renaissance fiddle, and the lira da braccio (derived from the Byzantine lira). -
The Treatises of Leopold Mozart, Carl Flesch, and Ivan Galamian Steffany Ann Shock James Madison University
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by James Madison University James Madison University JMU Scholarly Commons Dissertations The Graduate School Spring 2014 Violin pedagogy through time: The treatises of Leopold Mozart, Carl Flesch, and Ivan Galamian Steffany Ann Shock James Madison University Follow this and additional works at: https://commons.lib.jmu.edu/diss201019 Part of the Music Commons Recommended Citation Shock, Steffany Ann, "Violin pedagogy through time: The treatises of Leopold Mozart, Carl Flesch, and Ivan Galamian" (2014). Dissertations. 92. https://commons.lib.jmu.edu/diss201019/92 This Dissertation is brought to you for free and open access by the The Graduate School at JMU Scholarly Commons. It has been accepted for inclusion in Dissertations by an authorized administrator of JMU Scholarly Commons. For more information, please contact [email protected]. Violin Pedagogy Through Time: The Treatises of Leopold Mozart, Carl Flesch, and Ivan Galamian Steffany Shock A music document submitted to the Graduate Faculty of JAMES MADISON UNIVERSITY In Partial Fulfillment of the Requirements for the degree of Doctor of Musical Arts The School of Music May 2014 2 For my parents, William and Kathy Shock. ii 3 Table of Contents Abstract……………………………………………………………………………v Chapter One……………………………………………………………………….1 Chapter Two……………………………………………………………………….5 Chapter Three……………………………………………………………………...19 Chapter Four……………………………………………………………………….34 Chapter Five………………………………………………………………………..46 Chapter -
Meet the Strings Family Teacher's Guide
Meet the Strings Family Teacher’s Guide 1 Table of Contents Information 3 The Violin Family 4 The Instruments of the String Quartet 5 The Double Bass 6 Composers 6 The String Diagram 8 Parts of the String Instrument 9 Articulations 9 Information Handouts for Students 10 Worksheets 16 Meet the Strings Multiple Choice 17 Important String Quartet Composers 20 Vocabulary 21 String Diagram 22 Crossing Strings: Matching 23 Origins 24 Other Names: Matching 25 Activity Pages 26 Musical Mystery: Graph 27 Meet the Strings Crossword 28 Twisted Strings: Word Scramble 29 Meet the String Word Search 30 String Me Up: Connect-the-Dots 31 Mazes 32 Coloring/Handwriting Pages 35 Answer Key 46 2 3 The Violin Family The violin family is part of the larger string family, also known as the chordophones so called because they produce sound with vibrating strings. The instruments in the violin family are the violin, the viola, the cello, and the double bass. These instruments became popular in Italy during the 1600s. Some well-known string instrument makers during this period were the Guarneri, Stradivari, and Amati families in Italy. A person that makes or repairs string instruments is called a luthier (LOO- The Violin Family thee-ur). Luthier is a French word that means lute-maker. A lute is an early guitar played by strumming the strings with the fingers. The violin, viola, cello, and bass all have four strings and The Lute from make sound by causing those strings to vibrate over the hollow belly of the Disney’s Sleeping instrument.