DOCSLIB.ORG

String Instrument Family

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
String Instrument Family Instruments are classified or grouped into Families. These are my awesome children, Kelley and Jake! How are they alike? * Cute pug nose! Kelley * Hair color. * Beautiful smile! Jake * Sound of voice. Instruments are classified into families based on things they have in common. 1. The materials from which they are made, 2. The manner in which sound is produced on the instruments, 3. The ways the instruments produce different pitches, 4. The sound quality or timbre of the instruments – (voice), 5. The function of the instrument within the band or orchestra. Meet the String Family! StringsStrings StringsStrings Violin StringsStrings Violin Viola StringsStrings Violin Viola Cello StringsStrings String Bass Violin Viola Cello Harp StringsStrings StringsStrings Banjo StringsStrings StringsStrings Classical guitar with nylon strings. StringsStrings StringsStrings Acoustic guitar with steel strings. Mandolin Appalachian Dulcimer Hammered Dulcimer Hints: 1.This is not a guitar. 2. It has 4 strings. 3. It is smaller than a standard sized guitar. 4. It originated in Hawaii. Ukulele StringsStrings Vihuela Guitarron Mariachi Band StringsStrings What do stringed instruments have in common? StringsStrings 1. The materials from which they are made, 2. The manner in which sound is produced on the instruments, 3. The ways the instruments produce different pitches, 4. The sound quality or timbre of the instruments – (voice), 5. The function of the instrument within the band or orchestra. StringsStrings What do stringed instruments have in common? Sound Box StringString SoundSound BoxBox Thin wood is better than thick wood for a sound box. This student bought a craft box at a craft store like Michaels or Hobby Lobby. She attached a neck and her instrument made a great sound! StringsStrings Sound Hole StringsStrings Nut StringsStrings String instruments need something to hold the strings off Nut the sound box and the neck. StringString FamilyFamily BridgesBridges Bridge StringsStrings All instruments in the string family have strings. Some students have called ahead to an instrument store and asked the sales person to save some old strings that usually get thrown away when changing strings for customers. They are free and make great sound on your instrument invention. Fishing line stretches out and usually create poor sounds. Rubber bands often break. StringsStrings Tuning Pegs StringsStrings Tuning Pegs A string instrument needs to have tight strings or the sound will not be good. One of several ideas is to use screws with eye loops to attach strings. StringsStrings--HammerHammer DulcimerDulcimer StringString--HarpHarp MetalMetal StringsStrings Long, loosely Short, tightly stretched, stretched, thin thick strings strings vibrate vibrate slower, faster, producing producing lower pitches. higher pitches. StringString--BoxBox HarpHarp NylonNylon StringsStrings StringString--GuitarGuitar RealReal MetalMetal GuitarGuitar StringsStrings StringString--GuitarGuitar RealReal MetalMetal GuitarGuitar StringsStrings StringString--GuitarGuitar StringString--BanjoBanjo StringString--BanjoBanjo She used a 5 gallon tub for the sound box. StringString StringString StringString StringString StringString StringString StringString StringString StringString StringString StringString StringString StringString StringString StringString Wash Tub Bass Mrs. Cunningham’s Class Mr. Gregory’s Class Ms. King’s Class Ms. Well’s Class StringString StringString StringString StringString GroupGroup PicturesPictures GroupGroup PicturesPictures GroupGroup PicturesPictures GroupGroup PicturesPictures GroupGroup PicturesPictures GroupGroup PicturesPictures GroupGroup PicturesPictures Cunningham Internet 2002/2003 GroupGroup PicturesPictures Wells Internet 2003/2004 GroupGroup PicturesPictures Wells Internet 2003/2004 GroupGroup PicturesPictures King Internet 2002/2003 GroupGroup PicturesPictures Cunningham Internet 2003/2004 GroupGroup PicturesPictures Mims Internet 2003/2004 GroupGroup PicturesPictures King Internet 2003/2004 GroupGroup PicturesPictures Sawai Internet 2003/2004 GroupGroup PicturesPictures GroupGroup PicturesPictures GroupGroup PicturesPictures Awesome!.
Load more

Recommended publications
  • 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.
    [Show full text]
  • Electric & Acoustic Guitar Strings: a Recording of Harmonic Content
    Electric & Acoustic Guitar Strings: A Recording of Harmonic Content Ryan Lee, Graduate Researcher Electrical & Computer Engineering Department University of Illinois at Urbana-Champaign In conjunction with Professor Steve Errede and the Department of Physics Friday, January 10, 2003 2 Introduction The purpose of this study was to analyze the harmonic content and decay of different guitar strings. Testing was done in two parts: 80 electric guitar strings and 145 acoustic guitar strings. The goal was to obtain data for as many different brands, types, and gauges of strings as possible. Testing Each string was tested only once, in brand new condition (unless otherwise noted). Once tuned properly, each string was plucked with a bare thumb in two different positions. For the electric guitar, the two positions were at the top of the bridge pickup and at the top of the neck pickup. For the acoustic guitar, the two positions were at the bottom of the sound hole and at the top of the sound hole. The signal path for the recording of an electric guitar string was as follows: 1994 Gibson SG Standard to ¼” input on a Mark of the Unicorn (MOTU) 896 to a computer (via firewire). Steinberg’s Cubase VST 5.0 was the software used to capture the .wav files. The 1999 Taylor 410CE acoustic guitar was recorded in an anechoic chamber. A Bruel & Kjær 4145 condenser microphone was connected directly to a Sony TCD-D8 portable DAT recorder (via its B&K preamp, power supply, and cables). Recording format was mono, 48 kHz, and 16- bit.
    [Show full text]
  • Breedlove Owner's Manual
    1 BREEDLOVE Owner’s MANUAL Breedlove Owner’s Manual TABLE OF CONTENTS A Note From Kim Breedlove 4 How To Experience Breedlove 7 Humidity, Temperature and Solid Wood Instruments 8 Neck Truss Rod Adjustment 10 Breedlove Bridge Truss 12 Adjustment Bolt Sizes for Breedlove Instruments 14 Steel-String Acoustic Guitar Set Up Specifications 15 Changing Strings on your Breedlove Guitar 16 Breedlove Mandolins 17 Electronics Configurations for Acoustic Guitars 19 Cleaning Your Breedlove Instrument 19 Breedlove Factory String Specifications 22 Breedlove Warranty 22 Keep a record of your Breedlove Guitar 25 5 THANK YOU Thank you for purchasing your new Breedlove instrument. You are now the caretaker of a fine stringed instrument. Every instrument we produce is special to us and we hope it will bring you many years of enjoyment. To preserve the remarkable tone and playability of your Breedlove we have some simple suggestions to help ensure that your instrument will be making beautiful music for years to come. Should you ever have questions or concerns please send us an email at: [email protected] Sincerely, Kim Breedlove 5 DISTINCTIVELY CRafted SOUND. We love what we do. After all, it’s in our name. We are master luthiers who create instruments of true distinction. It’s in our DNA to push the boundaries of design and craftsmanship. Being different is never the easy path. But in our view, it has far greater rewards. And while we respect tradition, we simply choose not to make instruments of yesterday. Imagination compels us to make instruments of tomorrow. 7 Welcome to the Breedlove family where you are about to experience the highest quality craftsmanship, customer service and an unmatched passion for music and fine instruments.
    [Show full text]
  • Resonance and Resonators
    Dept of Speech, Music and Hearing ACOUSTICS FOR VIOLIN AND GUITAR MAKERS Erik Jansson Chapter II: Resonance and Resonators Fourth edition 2002 http://www.speech.kth.se/music/acviguit4/part2.pdf Index of chapters Preface/Chapter I Sound and hearing Chapter II Resonance and resonators Chapter III Sound and the room Chapter IV Properties of the violin and guitar string Chapter V Vibration properties of the wood and tuning of violin plates Chapter VI The function, tone, and tonal quality of the guitar Chapter VII The function of the violin Chapter VIII The tone and tonal quality of the violin Chapter IX Sound examples and simple experimental material – under preparation Webpage: http://www.speech.kth.se/music/acviguit4/index.html ACOUSTICS FOR VIOLIN AND GUITAR MAKERS Chapter 2 – Fundamentals of Acoustics RESONANCE AND RESONATORS Part 1: RESONANCE 2.1. Resonance 2.2. Vibration sensitivity 2.3. The mechanical and acoustical measures of the resonator 2.4. Summary 2.5. Key words Part 2: RESONATORS 2.6. The hole-volume resonator 2.7. Complex resonators 2.8. Mesurements of resonances in bars, plates and shells 2.9. Summary 2.10. Key words Jansson: Acoustics for violin and guitar makers 2.2 Chapter 2. FUNDAMENTALS OF ACOUSTICS - RESONANCE AND RESONATORS First part: RESONANCE INTRODUCTION In chapter 1, I presented the fundamental properties of sound and how these properties can be measured. Fundamental hearing sensations were connected to measurable sound properties. In this, the second chapter the concept of RESONANCE and of RESONATORS will be introduced. Resonators are fundamental building blocks of the sound generating systems such as the violin and the guitar.
    [Show full text]
  • 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.
    [Show full text]
  • Antonio Stradivari "Servais" 1701
    32 ANTONIO STRADIVARI "SERVAIS" 1701 The renowned "Servais" cello by Stradivari is examined by Roger Hargrave Photographs: Stewart Pollens Research Assistance: Julie Reed Technical Assistance: Gary Sturm (Smithsonian Institute) In 184.6 an Englishman, James Smithson, gave the bines the grandeur of the pre‑1700 instrument with US Government $500,000 to be used `for the increase the more masculine build which we could wish to and diffusion of knowledge among men.' This was the have met with in the work of the master's earlier beginning of the vast institution which now domi - years. nates the down‑town Washington skyline. It includes the J.F. Kennedy Centre for Performing Arts and the Something of the cello's history is certainly worth National Zoo, as well as many specialist museums, de - repeating here, since, as is often the case, much of picting the achievements of men in every conceiv - this is only to be found in rare or expensive publica - able field. From the Pony Express to the Skylab tions. The following are extracts from the Reminis - orbital space station, from Sandro Botticelli to Jack - cences of a Fiddle Dealer by David Laurie, a Scottish son Pollock this must surely be the largest museum violin dealer, who was a contemporary of J.B. Vuil - and arts complex anywhere in the world. Looking laume: around, one cannot help feeling that this is the sort While attending one of M. Jansen's private con - of place where somebody might be disappointed not certs, I had the pleasure of meeting M. Servais of Hal, to find the odd Strad! And indeed, if you can manage one of the most renowned violoncellists of the day .
    [Show full text]
  • Extracting Vibration Characteristics and Performing Sound Synthesis of Acoustic Guitar to Analyze Inharmonicity
    Open Journal of Acoustics, 2020, 10, 41-50 https://www.scirp.org/journal/oja ISSN Online: 2162-5794 ISSN Print: 2162-5786 Extracting Vibration Characteristics and Performing Sound Synthesis of Acoustic Guitar to Analyze Inharmonicity Johnson Clinton1, Kiran P. Wani2 1M Tech (Auto. Eng.), VIT-ARAI Academy, Bangalore, India 2ARAI Academy, Pune, India How to cite this paper: Clinton, J. and Abstract Wani, K.P. (2020) Extracting Vibration Characteristics and Performing Sound The produced sound quality of guitar primarily depends on vibrational char- Synthesis of Acoustic Guitar to Analyze acteristics of the resonance box. Also, the tonal quality is influenced by the Inharmonicity. Open Journal of Acoustics, correct combination of tempo along with pitch, harmony, and melody in or- 10, 41-50. https://doi.org/10.4236/oja.2020.103003 der to find music pleasurable. In this study, the resonance frequencies of the modelled resonance box have been analysed. The free-free modal analysis was Received: July 30, 2020 performed in ABAQUS to obtain the modes shapes of the un-constrained Accepted: September 27, 2020 Published: September 30, 2020 sound box. To find music pleasing to the ear, the right pitch must be set, which is achieved by tuning the guitar strings. In order to analyse the sound Copyright © 2020 by author(s) and elements, the Fourier analysis method was chosen and implemented in Scientific Research Publishing Inc. MATLAB. Identification of fundamentals and overtones of the individual This work is licensed under the Creative Commons Attribution International string sounds were carried out prior and after tuning the string. The untuned License (CC BY 4.0).
    [Show full text]
  • Instrument Descriptions
    RENAISSANCE INSTRUMENTS Shawm and Bagpipes The shawm is a member of a double reed tradition traceable back to ancient Egypt and prominent in many cultures (the Turkish zurna, Chinese so- na, Javanese sruni, Hindu shehnai). In Europe it was combined with brass instruments to form the principal ensemble of the wind band in the 15th and 16th centuries and gave rise in the 1660’s to the Baroque oboe. The reed of the shawm is manipulated directly by the player’s lips, allowing an extended range. The concept of inserting a reed into an airtight bag above a simple pipe is an old one, used in ancient Sumeria and Greece, and found in almost every culture. The bag acts as a reservoir for air, allowing for continuous sound. Many civic and court wind bands of the 15th and early 16th centuries include listings for bagpipes, but later they became the provenance of peasants, used for dances and festivities. Dulcian The dulcian, or bajón, as it was known in Spain, was developed somewhere in the second quarter of the 16th century, an attempt to create a bass reed instrument with a wide range but without the length of a bass shawm. This was accomplished by drilling a bore that doubled back on itself in the same piece of wood, producing an instrument effectively twice as long as the piece of wood that housed it and resulting in a sweeter and softer sound with greater dynamic flexibility. The dulcian provided the bass for brass and reed ensembles throughout its existence. During the 17th century, it became an important solo and continuo instrument and was played into the early 18th century, alongside the jointed bassoon which eventually displaced it.
    [Show full text]
  • Five Late Baroque Works for String Instruments Transcribed for Clarinet and Piano
    Five Late Baroque Works for String Instruments Transcribed for Clarinet and Piano A Performance Edition with Commentary D.M.A. Document Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Musical Arts in the Graduate School of the The Ohio State University By Antoine Terrell Clark, M. M. Music Graduate Program The Ohio State University 2009 Document Committee: Approved By James Pyne, Co-Advisor ______________________ Co-Advisor Lois Rosow, Co-Advisor ______________________ Paul Robinson Co-Advisor Copyright by Antoine Terrell Clark 2009 Abstract Late Baroque works for string instruments are presented in performing editions for clarinet and piano: Giuseppe Tartini, Sonata in G Minor for Violin, and Violoncello or Harpsichord, op.1, no. 10, “Didone abbandonata”; Georg Philipp Telemann, Sonata in G Minor for Violin and Harpsichord, Twv 41:g1, and Sonata in D Major for Solo Viola da Gamba, Twv 40:1; Marin Marais, Les Folies d’ Espagne from Pièces de viole , Book 2; and Johann Sebastian Bach, Violoncello Suite No.1, BWV 1007. Understanding the capabilities of the string instruments is essential for sensitively translating the music to a clarinet idiom. Transcription issues confronted in creating this edition include matters of performance practice, range, notational inconsistencies in the sources, and instrumental idiom. ii Acknowledgements Special thanks is given to the following people for their assistance with my document: my doctoral committee members, Professors James Pyne, whose excellent clarinet instruction and knowledge enhanced my performance and interpretation of these works; Lois Rosow, whose patience, knowledge, and editorial wonders guided me in the creation of this document; and Paul Robinson and Robert Sorton, for helpful conversations about baroque music; Professor Kia-Hui Tan, for providing insight into baroque violin performance practice; David F.
    [Show full text]
  • 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.
    [Show full text]
  • Mechanical Music Journal of the Musical Box Society International Devoted to All Automatic Musical Instruments Volume 60, No
    MECHANICAL MUSIC Journal of the Musical Box Society International Devoted to All Automatic Musical Instruments Volume 60, No. 2 March/April, 2014 October 7 - 12, 2014 at the Bonaventure Resort & Spa in Weston, Florida Meet The Collectors Open House Collection Visits Elliot and Rhonda Shumann have been collecting for many years and have a delightful collection of fine cylinder music boxes. In this collection you will see a Mermod Long March, a Nicole Grand Format, a Nicole Overture box, a Falconet overture keywind, and a number of chalets. Most outstanding is a double cylinder mechanism oil painting with clock in an ornate frame. Howard and Margery Sanford Bob Smith joined the MBSI in 1975. His , members for over 30 collection includes cylinder boxes, disc years, have a collection that includes a Mortier 101 boxes including a three disc Symphonion a key dance hall organ, a Wurlitzer 146, a carousel Mira console and a Stella, a grandfather organ, an Encore/Ramey banjo, a Capitol cu box type organ clock, an oil painting which contains a C, several pianos, and a one-of-a-kind midi accordion clock and music box, an upright Duo Art with a wooden conductor resembling Mozart, all of piano and an Arburo dance organ. which is housed in a lovely Florida setting. Come and enjoy our southern hospitality as you visit these fascinating collections! Arrive early and luxuriate in the beautiful Check our website www.mbsi2014.org surroundings of the Bonaventure Resort and Spa, for updated information about the 2014 Annual Meeting and be ready for a fun-filled weekend.
    [Show full text]
  • 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.
    [Show full text]