DOCSLIB.ORG

Mechanical Engineering

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Mechanical Engineering Engineering Downloaded from http://asmedigitalcollection.asme.org/memagazineselect/article-pdf/133/02/38/6357733/me-2011-feb5.pdf by guest on 02 October 2021 Close study of a ubiquitous musical he classical acoustic guitar is, in some ways, a perfect musi- cal instrument. It is light- weight and self-contained, needing neither power source nor amplifier. Its voice can be altered to represent a nearly Tinfinite range of mood and shading. And while the guitar is simple enough for a novice to pick up and strum, its full potential can be unlocked by a master. But the classical guitar itself is far from perfected. The instrument, essentially a mechanical amplifier of the energy produced by the strings, has always been limited by low sound power output. This is fine for small halls and intimate gatherings, but performers need a microphone or electric pick-up to project sound into large areas. Classical guitars also suf- fer from poor acoustic reproduction of sound over the entire frequency range of the strings, including at least the lower harmonics. In addition to electronic ampli- fication, luthiers have employed the use of metal strings and materials other than wood for the body to try to produce a louder sound from their guitars. Some have even designed guitars with larger bodies. But these have been largely trial-and-error methods. The Richard Schile is a retired mechanical engineer. Readers can e-mail him at [email protected]. 38 MECHANICAL ENGINEERING | January 2011 a Better Guitar Downloaded from http://asmedigitalcollection.asme.org/memagazineselect/article-pdf/133/02/38/6357733/me-2011-feb5.pdf by guest on 02 October 2021 instrument reveals potential means of improvement. By Richard Schile intriguing question is: Can the acoustic vidual notes is critical to the overall instrument having high damping may power and fidelity of the classic guitar sound power. A standard measure of charitably be referred to as being “mel- be improved by redesigning the instru- the energy loss rate is the decrement or low” which simply means that the high ment based on the application of the the decrease in amplitude of vibration frequency overtones are lacking. principles of mechanics? If one identi- of a particular cycle of motion relative fies all the sources of energy dissipation to the previous cycle. When a luthier or in the existing structure and works to guitar maker refers to the rate of decay Mechanically, guitars are objects of reduce or eliminate such losses through of a particular note, he uses the term wood and glue. The variety of wood redesigning the guitar or substituting “sustain” which is the absence of decay. for each component is chosen by the different materials, could one build a In general, “sustain” is a desirable luthier. For instance, the soundboard, better, louder acoustic guitar? quality except in some quick passages the major sound-producing element, I recently built two guitars according when the performer may be called is usually made from a type of spruce, to engineering principles to find out. upon to damp certain notes with his which is lightweight yet strong and Modern classical guitar construction playing hand. Damping in the classic stiff, while the body materials are often is largely based on the original designs guitar manifests itself as a reduction in selected based on cosmetic appeal. of Antonio de Torres Jurado in the intensity of the higher frequencies. An The wood and adhesives have nonlin- mid-nineteenth century. The iconic hourglass shape of the body and the use of braces selectively applied to portions of the underside of the soundboard are characteristic of the original designs. Modern variations of these original designs are very prevalent, but all feature a hollow body most often made of wood with a soundboard, generally having a single sound hole, an attached fingerboard and a bridge attached more or less centrally to the soundboard to which the strings are tied. (Torres’s original design used catgut strings; these have for the most part been replaced by nylon.) From an engineering perspective, the hollow body and sound hole constitute a Helmholtz resonator that is tuned to the lower frequency range of the instrument. Because the guitar is plucked rather Guitar interior: Acoustic guitars feature elaborate bracing under the soundboard than bowed, the rate of decay of indi- to reduce distortion and improve the sound volume. February 2011 | MECHANICAL ENGINEERING 39 sated for by an additional underside brace.) The braces act as constrained layer dampers, which are flat, struc- tural elements adhered to a vibrating structure with a viscoelastic adhesive for the purpose of noise reduction. The engineering principle behind the bracing was not known to Torres or to most contemporary luthiers, and the advantages and limitations have been intuited rather than analyzed. There are some other, quirky Downloaded from http://asmedigitalcollection.asme.org/memagazineselect/article-pdf/133/02/38/6357733/me-2011-feb5.pdf by guest on 02 October 2021 aspects to the classical guitar design. The interior lining of the body to which the soundboard is glued is kerfed in order to follow the guitar’s curves. Unfortunately, a side struc- ture with kerfed lining attached is so First prototype: This guitar features a brace under the bridge and a series of flexible that it cannot adequately sup- diagonal braces, similar to but simpler than the Torres design. port the soundboard without causing high local stresses. ear stress-strain curves and time- 120 pounds. This force creates a com- dependent mechanical properties. bination of compressive and tensile After close analysis, I thought I This means that creep and relaxation loads on the soundboard. could apply engineering principles can occur under static stress and that In Torres’s original design, a num- to build a superior guitar. I have the behavior under vibratory stress ber of braces were glued to the under- completed two prototype instru- is different when there is a superim- side of the soundboard, both above ments, the first in 2007 and the second posed static stress. Pre-existing static and below the bridge. These braces in 2008. If you examine the underside stress, due to either string loads or reduce the distortion of the sound- of the soundboard of each instrument, residual stresses, causes a hysteresis board in the vicinity of the bridge you will see some marked differences loop to form which dissipates energy and also improve the sound volume from conventional designs. to a degree depending on the intensity and tone. (The bridge itself acts as an In the first prototype, the transverse of the static stress. Therefore, one asymmetric transverse brace causing under-brace, located directly opposite approach to reducing energy dissipa- high local stresses unless compen- the bridge, is proportioned so that tion is to reduce or redistribute static stresses within the structure. When luthiers bend and fit various parts, with or without heating, and clamp them into place until the glue has set, they induce static residual stresses within the guitar structure. Until these stresses relax, which can take up to a year after construction, the voice of the instrument is weak and tonally inferior. New guitars, it is said, have to be “played in” before the instruments “find their voices.” The soundboard is supported by the sides of the body at the edges and by a transverse brace below the sound hole. The bridge, which holds the strings in place on the body, transfers the vibratory forces of the strings to the soundboard. At concert pitch, the sum total of the string tensile forces Second prototype: A second set of diagonal braces between the bridge and the bot- applied to the bridge is approximately tom of the body may have reduced the sound volume of this guitar. 40 MECHANICAL ENGINEERING | February 2011 the neutral plane at this location lies as powerful as the first and the tone transfer of the string loads into the within the soundboard. The under- is not as full. The mid-range seems neck, provides a structure with very brace is notched to allow the king deficient in fullness of tone. low damping. brace, made of fir, to pass through. It appears that the second instru- As a result, the guitars—especially Four spruce diagonal braces are also ment is over-braced. Adding tensile the first prototype—have very high present in the compression zone stress to a flexural member tends to sustain. In fact, notes played on these between the bridge and the lower decrease the vibration amplitude. Add- guitars may carry on longer than edge of the sound hole. ing bracing only compounds the prob- planned, and the instrument actually To support the soundboard, two lem. Also, the balance between the may be too loud when played with short, stiff cantilever beams are level of compression in the soundboard normal force. Incidental clicks and bonded to the upper neck exten- above the bridge and tension below squeaks that go unnoticed in a normal sion using spacer blocks to allow the the bridge seems to be about right in instrument are amplified along with Downloaded from http://asmedigitalcollection.asme.org/memagazineselect/article-pdf/133/02/38/6357733/me-2011-feb5.pdf by guest on 02 October 2021 beams to pass outside of the sound the first instrument, while there is too the high overtones. hole. The free ends are connected much shift from compression to ten- Indeed, while these guitars, built with a short bar to provide a reactive sion in the second instrument. with the application of engineering member supporting the compressive Further examination confirms principles, are exceptional at pro- forces in the soundboard.
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]
  • 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]
  • Journal of the Violin Society of America, Volume XVI, No
    Journal of the Violin Society of America, Volume XVI, No. 2 Proceedings of the 25th Annual National Convention New Designs and Modern Violins Saturday, November 8, 1997, 2:00 pm Albert Mell: From early childhood Guy Rabut has been very much in- volved with art and drawing, and this interest has been maintained throughout his career. After working in the Français shop under René Morel for a number of years, Guy opened his own shop on 28th Street in Manhattan, where he is concerned primarily with making new instruments. If you are in New York Iʼm sure he would be glad to see you. Since 1995 Guy has been working on what seems to be a new face of the violin. These are violins which are built acoustically according to traditional methods, but incorporate new design ideas to create an aesthetic interest. I give you Guy Rabut. Guy Rabut: Good afternoon. I would like to thank Phil Kass and the VSA for inviting me to speak today. I attended my first VSA meeting in 1980 when it was at Hofstra University. I have been to several since, and have always enjoyed myself and learned a great deal. For several years I have been pursuing traditional violin making. But always in the back of my mind I wanted to expand the aesthetic envelope and try some new designs and ideas within the parameters of violin mak- ing. As they evolved, the ideas went from non-traditional decorations on a traditional playing instrument to completely new forms and surface treat- ments on the acoustic skeleton of the traditional violin.
    [Show full text]
  • Overview Guitar Models
    14.04.2011 HOHNER - HISTORICAL GUITAR MODELS page 1 [54] Image Category Model Name Year from-to Description former retail price Musima Resonata classical; beginners guitar; mahogany back and sides Acoustic 129 (730) ca. 1988 140 DM (1990) with celluloid binding; 19 frets Acoustic A EAGLE 2004 Top Wood: Spruce - Finish : Natural - Guitar Hardware: Grover Tuners BR CLASSIC CITY Acoustic 1999 Fingerboard: Rosewood - Pickup Configuration: H-H (BATON ROUGE) electro-acoustic; solid spruce top; striped ebony back and sides; maple w/ abalone binding; mahogany neck; solid ebony fingerboard and Acoustic CE 800 E 2007 bridge; Gold Grover 3-in-line tuners; shadow P7 pickup, 3-band EQ; single cutaway; colour: natural electro-acoustic; solid spruce top; striped ebony back and sides; maple Acoustic CE 800 S 2007 w/ abalone binding; mahogany neck; solid ebony fingerboard and bridge; Gold Grover 3-in-line tuners; single cutaway; colour: natural dreadnought western guitar; Gruhn design; 20 nickel silver frets; rosewood veneer on headstock; mahogany back and sides; spruce top, Acoustic D 1 ca. 1991 950 DM (1992) scalloped bracings; mahogany neck with rosewood fingerboard; satin finish; Gotoh die-cast machine heads dreadnought western guitar; Gruhn design; rosewood back and sides; spruce top, scalloped bracings; mahogany neck with rosewood Acoustic D 2 ca. 1991 1100 DM (1992) fingerboard; 20 nickel silver frets; rosewood veneer on headstock; satin finish; Gotoh die-cast machine heads Top Wood: Sitka Spruce - Back: Rosewood - Sides: Rosewood - Guitar Acoustic
    [Show full text]
  • 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.
    [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]
  • Guitar Performance in the Nineteenth Centuries and Twentieth Centuries Paul Sparks
    Performance Practice Review Volume 10 Article 7 Number 1 Spring Guitar Performance in the Nineteenth Centuries and Twentieth Centuries Paul Sparks Follow this and additional works at: http://scholarship.claremont.edu/ppr Part of the Music Practice Commons Sparks, Paul (1997) "Guitar Performance in the Nineteenth Centuries and Twentieth Centuries," Performance Practice Review: Vol. 10: No. 1, Article 7. DOI: 10.5642/perfpr.199710.01.07 Available at: http://scholarship.claremont.edu/ppr/vol10/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]. Guitar Performance in the Nineteenth and Twentieth Centuries Paul Sparks By 1800 guitars with six single strings (tuned EAdgbe') had become the norm. The rosette gave way to an open sound hole, while the neck was lengthened and fitted with a raised fingerboard extending to the sound hole. Nineteen fixed metal frets eventually became standard, the top note sounding b". The bridge was raised, the body enlarged, and fan-strutting introduced beneath the table to support higher tension strings. Treble strings were made of gut (superseded by more durable nylon after World War 11), bass strings from metal wound on silk (or, more recently, nylon floss). Tablature became obsolete, guitar music being universally written in the treble clef, sounding an octave lower than written. By the 1820s makers such as Louis Panormo of London were replacing wooden tuning pegs with machine heads for more precise tuning, and creating the prototype of the modem classical guitar (a design perfected in mid-century by Antonio Torres).
    [Show full text]
  • Player's Guide
    Player’s Guide Contents Imitations Flute...................................................................................6 Introduction Cello ..................................................................................6 Horn ...................................................................................6 How the EBow Works ........................................................2 Harmonica .........................................................................6 Opening Tips .....................................................................2 Energy Slide ......................................................................6 Switch Positions ................................................................2 Distortion Pick....................................................................6 How to Hold the EBow.......................................................2 How to Position the EBow .................................................2 Other Grips Methods of Control Reverse Grip .....................................................................7 Thumb Grip........................................................................7 String Activation .................................................................3 Finger Grip.........................................................................7 Gliding ...............................................................................3 Pressing.............................................................................3 Review Tilting .................................................................................4
    [Show full text]
  • DIY Guitar. Experiment with Sound by Building a Musical Instrument with Materials Like String, Rubber Bands, and Cardboard
    at home DIY Guitar. Experiment with sound by building a musical instrument with materials like string, rubber bands, and cardboard. The inspiration MOXI Exhibit Giant for this activity! Connection Guitar Age 6+ Time 30+ min Tinkering, Category Sound Educational Value Design Challenge Based on Next Generation Build an instrument with strings that can change pitch by getting Science Standards (NGSS) tighter or looser. Grade Standard K-2 1-PS4-1, ETS1-3 Materials 3-5 PS4-1, ETS1-2,3 Below are some ideas for supplies, but be creative! What else could 6+ PS4-2, MS-ETS1-2 you use for each of the categories below? Your home is a creative *May include opportunities to employ the tool chest waiting to be discovered! following Science and Engineering Practices: Instrument • Asking questions Strings Extras Tools • Defining problems Body • Designing solutions • Obtaining, evaluating, and • Rubber bands • Cardboard box • Clothespins • Scissors communicating information • Shoelaces • Tupperware • Chopsticks • Tape • Fishing line bowl • Pencils For Educators • String • Tin can • Popsicle sticks • Yarn • Plastic jug • Ruler • Cereal box Thank You to Our Featured Sponsors: Mithun Family Williams-Corbett 1 Foundation Foundation Instructions 1 3 2 4 Try biting on a string and pulling it tight while you strum. 1. A homemade guitar can be simple putting a knot in your string and What do you notice? or complex! Either way, first you sliding it through a small cut in need to find the right strings. What the cardboard. sounds do strings make when they are loose and when they are 3. To add more notes to your guitar, pulled tight? Compare the different add a fretboard where you can sounds you make and pick your press down on the strings.
    [Show full text]