The violin , also known informally as violin , is a wood string instrument in a violin family. Most violins have hollow wooden bodies. This is the smallest and highest instrument in the family that is used. Smaller violin instruments are known, including violino piccolo and violin kits, but these are hardly used. The violin usually has four strings tuned in perfect fifths, and is most often played by drawing a bow across its strings, although it can also be played by strumming the strings with the fingers (pizzicato) and by hitting the rope with the wooden sides of the bow (col legno).
Violin is an important instrument in various musical genres. They are most prominent in Western classical traditions, both in the ensemble (from the music room to the orchestra) and as solo instruments and in various types of folk music, including country music, bluegrass music and jazz. Electric violins with solid bodies and piezoelectric pickups are used in some form of rock music and jazz fusion, with pickups plugged into instrument and speaker amplifiers to produce sound. Furthermore, the violin has been played in many non-Western musical cultures, including Indian music and Iranian music. The name violin is often used regardless of the type of music being played on it.
The violin was first recognized in 16th-century Italy, with some further modifications that occurred in the 18th and 19th centuries to provide a stronger instrument of sound and projection. In Europe, it serves as a basis for the development of other stringed instruments used in Western classical music, such as violins.
The violinist and collector greatly appreciate the fine historical instruments made by the Stradivari, Guarneri and Amati families from the 16th to the 18th centuries in Brescia and Cremona (Italy) and by Jacob Stainer in Austria. According to their reputation, their sound quality has opposed attempts to explain or equate it, although this belief is disputed. A large number of instruments come from the hands of less well-known makers, as well as a large number of mass-produced commercial trade violins derived from home-based industries in places such as Saxony, Bohemia and Mirecourt. Many of these trading instruments were previously sold by Sears, Roebuck and Co. and other bulk merchandiser.
The parts of the violin are usually made of various types of wood (although electric violins may not be made of wood at all, since their sound may not depend on certain acoustic characteristics of the instrument's construction, but rather of electronic pickups, amplifiers and speakers). Violins can be strung together with gut, Perlon or synthetic strings or other steel. Someone who makes or improves a violin is called a luthier or a violin. The person making or fixing the bow is called the sorcerer or the arc maker.
Video Violin
Etymology
The word "violin" was first used in English in the 1570s. The word "violin" originated "from violin Italy, [a] small from viola". The term "viola" is derived from the expression for "violin tenure," 1797, of the Italian viola, of the Old ProvenÃÆ'§al viola, [of Latin] Medieval Vitula, "a term meaning" string instrument, "possibly [coming ]] of Vitula, the Roman goddess of happiness..., or of the associated Latin verbs, vitulari "for joy, rejoicing." "The related term Viola da gamba means" bass viol "(1724) is derived from Italian, literally "a violin for the feet" (ie to hold between the legs). "The violin is" the modern form of the smaller medieval vola da braccio. "
Violins are often called violins, either when used in the context of folk music, or even in classical music scenes, as informal nicknames for instruments. The word "violin" means "stringed instrument, violin". The word "violin" was first used in English at the end of the 14th century. The word "violin" is derived from "fedele, fydyll, fidel, fithele before, from Old English fi Æ' Â ° ele" fiddle, "associated with Old Norse fiÃÆ' Â ° la, vedele Middle Kingdom, Dutch vedel, German Old German phidula Fiedel "violin;" all origins are uncertain. "Like the origin of the word" violin ","... ordinary advice, based on similarity in sound and mind, is that it comes from medieval Latin Vitula. " The Online Etymology dictionary states that the term "violin" has been "... has been passed down to everyday use by its more precise cousin, violin, a process driven by phrases like fiddlesticks (1620s), insulting words of nonsense. -dee (1784), and [expressions like] violin-faddle. "
Maps Violin
History
The earliest stringed instruments are mostly picked (eg, Greek lute). The instrument with two strings, bowed, played upright, strung together, and bowed with horsehair, probably derived from a nomadic equestrian culture in Central Asia, in a form similar to the modern-day Mongolian Morin huur and Kazakh Kobyz. Similar types and variants may be deployed along the East-West trade route from Asia to the Middle East, and the Byzantine Empire.
The first violinists may borrow from the various developments of the Byzantine literature. These include rebec, Arabic rebab , the vielle (also known as fidel or viuola ) and lira da braccio . The violin in its present form emerged early in the 16th century in northern Italy. The early photos of the violin, though with three strings, were seen in northern Italy around 1530, around the same time as the words "violino" and "vyollon" seen in Italian and French documents. One of the earliest explicit descriptions of the instrument, including its setting, was from Epitome musical by Jambe de Fer, published in Lyon in 1556. By this time, the violin had begun to spread throughout Europe..
The violin proved very popular, both amongst street musicians and nobles; The French king Charles IX ordered Andrea Amati to build twenty-four violins for him in 1560. One of these "noble" instruments, Charles IX , is the oldest surviving violin. The finest carved and ornate violin in the world is Gasparo da SalÃÆ'² ( c. 1574) owned by Ferdinand II, Archduke of Austria and later, from 1841, by the Norwegian virtu expert Ole Bull , who used it for forty years and thousands of concerts, because the tone is very strong and beautiful, similar to a Guarneri. "The Messiah" or "Le Messie" (also known as "Salabue") created by Antonio Stradivari in 1716 remains pure. It is now located in Oxford Ashmolean Museum.
The most famous violinists (luthiers) between the 16th century and the 18th century include:
- The Brescia School, beginning at the end of the 14th century with lyrical, violet, violas and active in the field of violin in the first half of the 16th century.
- The Dalla Corna family, active 1510-1560 in Brescia and Venice
- The Micheli family, active 1530-1615 in Brescia
- The active Inverardi family 1550-1580 in Brescia
- Family Gasparo da SalÃÆ'², active 1530-1615 in Brescia and SalÃÆ'²
- Giovanni Paolo Maggini, student of Gasparo da SalÃÆ'², active 1600-1630 in Brescia
- The Cremona School, beginning in the mid-sixteenth century with violins and violones and in the field of violin in the second half of the 16th century
- Family Amati, active 1550-1740 in Cremona
- The Guarneri family, active 1626-1744 in Cremona and Venice
- The Stradivari family, active 1644-1737 in Cremona
- The Venetian School, with the presence of several instrument makers bent from the early 16th century from over 140 string instrument makers registered between 1490-1630.
- The Linarolo family, active 1505- 1640 in Venice
- Matteo Goffriller, known for her mobile, active 1685-1742 in Venice
- Pietro Guarneri, son of Giuseppe Giovanni Battista Guarneri and from Cremona, active 1717-1762 in Venice
- Domenico Montagnana, circa 1700-1750 active in Venice
- Santo Serafin, active before 1741 to 1776 in Venice
Significant changes occurred in violin construction in the 18th century, especially at the length and neck angle, as well as heavier bass rods. The majority of the old instruments have undergone these modifications, and are therefore in a state very different from when they left the creator's hands, no doubt with differences in sound and response. But these instruments in their present conditions set the standard for perfection in the workings and sound of the violin, and violin makers around the world seek to approach this ideal as best as possible.
To this day, the instruments of the so-called Golden Age violin making, especially those made by Stradivari, Guarneri del GesÃÆ'¹ and Montagnana are the instruments most sought after by collectors and players. The number of notes currently paid for the Stradivari violin is Ã, Â £ 9.8 million (US $ 15.9 million), when the instrument known as Lady Blunt is sold by Tarisio Auctions in an online auction on June 20, 2011.
Construction and mechanical
A violin generally consists of a spruce top (sound board, also known as a top plate, table, or stomach), maple ribs and back, two endblock, neck, bridge, sound pole, four string, and various fittings, optionally including chinrest, which can be mounted directly above, or on the left, tailpiece. The hallmark of the violin body is its hourglass shape and its upper arch and back. The hourglass shape consists of two top attacks, two lower attacks, and two C-concave checks at the waist, giving permission for the bow. The "sound" or sound of the violin depends on the shape, the wood is made of, the graduation (thickness profile) of both the top and the back, the varnish lining the outer surface and the luthier skill in performing all these steps. Varnishes and especially woods continue to increase with age, making a steady supply of the old-made violins built by famously sought-after luthiers.
The majority of the joints are glued in instruments using glue to conceal the animal rather than ordinary white glue for a number of reasons. The concealed glue can make connections thinner than most other glue, reversible (fragile enough to crack with carefully applied strength, and can be removed with very warm water) when disassembly is required, and because the fresh adhesive attaches to the adhesive used, more original wood can be preserved when repairing the connection. (More modern adhesives should be thoroughly cleaned for new connections to be healthy, which generally involves the erosion of some wood along with the old glue.) Lighter, diluted glue is usually used to tie the top to the ribs, and nuts for fingerboard, involves removal of these parts. The purfling ran around the tip of the upper spruce providing protection against cracks that originate from the edges. It also allows the upper part to flex more independently of the rib structure. The faux purfling painted above is usually a sign of an inferior instrument. The back and ribs are usually made of maple, most often with a matching striped figure, referred to as flame , fiddleback , or the tiger line .
The neck is usually maple with a burned figure that is compatible with the ribs and back. It carries a fingerboard, usually made of ebony, but often some wood stained or painted black on cheaper instruments. Ebony is the preferred material because of its hardness, beauty, and superior resistance to wear. Fingerboards dress with certain transverse curves, and have a small "spoon", or concave lengthwise, a little more clearly on the lower strings, especially when intended for gut or synthetic strings. Some old violins (and some made to look old) have grafted grafted, evidenced by glue between pegbox and neck. Many of the original old instruments have reset their necks to slightly increased angles, and are extended by about a centimeter. The neck graft allows the original roll to be stored with a Baroque violin when it brings its neck to conform to modern standards.
The bridge is a precise piece of maple that forms the bottom anchor point of the vibrating strings of the string and transmits the vibration of the strings to the body of the instrument. Its peak curve holds the strings at the exact height of the fingerboard in the arc, allowing each to be sounded separately by the arc. The voice post, or soul post , is right inside the instrument between the back and top, under the foot of the treble bridge, which helps support. It also transmits vibrations between the top and back of the instrument.
The tailpiece anchor the string to bout lower than the violin by the way of the tailgut, which loops around the ebony button called tailpin (sometimes confusingly called endpin , like cello spikes), which matches the tapered hole in the bottom block. Very often the E string will have a good regulator lever that is done by a small screw rotated by the fingers. Fine tuners can also be applied to other strings, especially on student instruments, and sometimes built into the tailpiece. The smooth tuner allows the player to make small changes in the pitch string. On the scroll, the strings wrapped around peg peging wood in pegbox. The tuning peg is sharpened and goes into the hole in the stake box. The tuning tunes are held in place by wood friction on the wood. Strings can be made of metal or less commonly gut or intestine wrapped in metal. Strings usually have colored silk wrappers at both ends, for string identification (eg, G string, D string, string A or E string) and to provide friction on the pegs. The tapered spikes allow friction to be increased or decreased by players applying the proper pressure along the post axis while changing it.
String
Strings were first made from the sheep's intestine (commonly known as catgut, which, despite its name, is not derived from a cat), or simply the intestines, are stretched, dried, and twisted. In the early years of the 20th century, strings were made of intestine or steel. Modern strings can be intestine, solid steel, welded steel, or various synthetic materials such as perlons, wounds with various metals, and sometimes coated with silver. Most E strings are removed, either plain or plated steel. Sound strings are not as common as they used to be, but many players use them to achieve certain sounds especially in Baroque music performance that is historically informed. Strings have a limited lifetime. Finally, when the oil, dirt, corrosion, and rosin accumulate, the mass of the string can become uneven along its length. Regardless of the obvious things, like a string roll that is detached from wear and tear, the player generally changes the string when it no longer plays "right" (with good intonation on the harmonics), loses the desired tone, brilliance and intonation. The string age depends on the quality of the string and the intensity of the play.
Pitch range
A violin is set in the fifth, in G 3 , D 4 , A 4 , E 5 . The lowest note of the violin, set normally, is G 3 , or G below middle C. (On rare occasions, the lowest string can be set to four, to D 3 . The top notes are poorly defined: E 7 , E two octaves above the open string (set to E 5 ) may be considered a practical threshold for the violin part of the orchestra, but often it is possible to play higher, depending on fingerboard length and violinist skills, but higher tones (up to C 8 ) can be sounded by stopping the string, reaching the fingerboard limit, or by using artificial harmonics.
Acoustics
The curved shape, the thickness of the wood, and its physical quality govern the sound of the violin. The knot patterns made by sand or glitter are sprinkled on plates with plates vibrating at a certain frequency, called Chladni pattern , sometimes used by luthiers to verify their work before assembling the instrument.
Size
Regardless of the standard size, full ( 4 / 4 ), the violin is also created in what is called broken size / 8 , 3 / 4 , 1 / 2 , 1 / 4 , 1 / 8 , 1 / 10 , 1 / 16 , 1 / 32 and even 1 / 64 . These smaller instruments are usually used by young players, whose fingers are not long enough to reach the correct position on a full-sized instrument.
While related in meaning to instrument dimensions, fractional sizes are not intended to be literal descriptions of relative proportions. For example, the 3 / 4 instrument is not three-quarters the size of a full-size instrument. The length of the body (excluding the neck) is full size, or 4 / 4 , the violin is 356 mm (14.0 inches), smaller in some 17th century models. The length of the violin body 3 / 4 is 335 mm (13.2 inches), and 1 / 2 size is 310 mm (12.2 inches). With the closest family member of the violin, the violin, the size is determined as the length of the body in an inch or centimeter than the size of the fraction. A full-size viola averages 40 cm (16 inches).
Sometimes, small-frame adults can use so-called violin sizes 7 / 8 rather than full-size instruments. Sometimes called a female violin, the instrument is slightly shorter than a full-length violin, but tends to be a high-quality instrument capable of producing sounds that are comparable to full-size violins. 5 String violin sizes may vary from 4 normal strings.
Mezzo violin
The instrument corresponding to the violin in an octave violin is a mezzo violin, tuned the same as a violin but with a slightly longer body. Mezzo violin strings have the same length as standard violin.
Tuning
The violin is tuned by rotating the peg peg peg under the roll, or by adjusting the fine tuner screw in the tailpiece. All violins have pegs; the fine tuner (also called the fine adjuster ) is optional. Most fine tuners consist of metal screws that move the lever attached to the end of the rope. They allow very small pitch adjustments much easier than pegs. By rotating one clock clockwise, the pitch becomes sharper (because the strings are under more voltage) and rotate one counterclockwise, the pitch becomes more flat (because the strings are under less stress). Fine tuners on all four strings are helpful when using those with a steel core, and some players use them with synthetic strings as well. Since modern E string is steel, a good tuner is almost always suitable for that string. Fine tuners are not used with bowel strings, which are more elastic than steel or synthetic-core strings and do not respond adequately to very small smooth tuner movements.
To set the violin, the first string A is set to the default tone (usually 440 Hz). (When accompanying or playing with a fixed-tone instrument such as a piano or accordion, the violin sets it.) Other ropes are then tuned to each other in a perfect five-second interval by bending them in pairs. Higher tunings are sometimes used to play solos to give the instrument a brighter sound; on the contrary, Baroque music is sometimes played using a low barrel to make the violin sound softer. After adjustment, the instrument bridge can be checked to ensure that the bridge is standing straight and centered between the incisions of the inner holes; Crooked bridges can significantly affect the sound of the violin being made well. After extensive play, the holes in which the tuning pegs are inserted can become worn out, which can cause the peg to slip under pressure. This may cause the strings to tone down, or if the peg becomes really loose, to the strings completely lose tension. A violin in which a skidding tuning peg needs to be repaired by a luthier repairman or violinist. The stake or stake compound, used regularly, can delay the wear and tear, while allowing the pegs to change smoothly.
Tuning G-D-A-E is used for most violin music, both in Classical music, jazz and folk music. Other tones are sometimes used; G strings, for example, can be set to A. The use of non-standard tuning in classical music is known as scordatura ; in some folk styles, it's called cross settings . One of the best known examples of scordatura in classical music is Camille Saint-SaÃÆ'n 'ns' Danse Macabre , where string E solo violin is set to E ? to instill a frightening dissonance on the composition. Another example is the third movement Contrast , by BÃÆ' Â © la BartÃÆ'³k, where the string E is set to E ? and G tuned to G ? and Mystery Sonatas by Biber, where each movement has a different skordatura tuning.
In Indian classical music and Indian light music, the violin is likely to be set to D ? -A ? -D ? -A ? in South Indian style. Since there is no absolute pitch concept in Indian classical music, an easy adjustment to maintain a relative pitch interval between strings can be used. Other common tuning with this interval is B ? -FB ? -F, which corresponds to Sa-Pa-Sa-Pa in the classical style of Indian carnival music. In the Hindustani style of Northern India, tuning is usually Pa-Sa-Pa-Sa instead of Sa-Pa-Sa-Pa. This could correspond to F-B ? -F-B ? , for example. In Iranian classical music and Iranian light music, the violin ls are different in each Dastgah, the violin is likely to be set (EAEA) in Dastgah-h Esfahan or in Dastg? He? Ur is (EADE) and (EAEE), in Dastg? He M? Hur is (EADA). In Arabic classical music, strings A and E are lowered by the whole step of G-D-G-D. This is to make it easier to play Arabic maqam, especially those containing a quarter tone.
While most violins have four strings, there are violins with additional strings. Some have as many as seven strings. Seven strings are generally regarded as the maximum number of strings that can be put on a bent string instrument, as with more than seven strings, it is not possible to play a particular in a string individually with an arc. Instruments with seven strings are very rare. Additional strings on such violins are usually lower than the G-string tones; this string is usually set to C, F, and B ? . If the length of the instrument plays, or the length of the string from the nut to the bridge, the same as the usual full-scale violin; ie, slightly less than 13 inches (33 cm), then it can be properly called a violin. Some such instruments are somewhat longer and should be regarded as violin. A violin with five or more strings is usually used in jazz or folk music. Some specially crafted instruments have extra strings that do not bend, but that sound sympathetic, due to the bending strings of the strings.
Bow
The violin is usually played using a bow consisting of a rod with a ribbon of horsehair hung between the tip and frog (or bean, or heel) on the opposite end. A typical violin bow may be 75 cm (30 inches) in total, and weigh about 60 g (2.1 oz). The Viola bow may be about 5 mm (0.20 inches) shorter and 10 g (0.35 oz) heavier. At the tip of the frog, the screw regulator tightens or loosens the hair. Just ahead of the frog, thumb skin cushion, called the handle, and winding protect the stick and provide a firm grip for the player's hand. Traditional rolls are wire (often silver or silver plated), silk, or baleen ("whalebone", now replaced with plastic strips of tan and black alternately.) Some students of fiberglass bows use plastic sleeves as a handle and winding.
The bow hair is traditionally derived from a gray stallion (which is dominated by white hair). Some cheaper arcs use synthetic fibers. Solid rosin is rubbed into the hair, to make it a bit sticky; when the arc is pulled across the string, the friction between them makes the string vibrate. Traditional materials for more expensive bow sticks include firewood, and brazil wood (also known as Pernambuco wood). Some of the latest arc design innovations use carbon fiber (CodaBows) to stick, at all skill levels. Cheap bows for students are made of cheaper wood, or from fiberglass (Glasser).
Main
Posture
The violin is played either sitting or standing. The soloist (either playing alone, with a piano or with an orchestra) plays mostly standing (unless it is prevented by a physical handicap as in the case of Itzhak Perlman), while in the orchestra and in the music room is usually played sitting. In the 2000s and 2010s, some orchestras playing Baroque music (such as the Freiburg Baroque Orchestra) had all violins and violas, solos and ensembles, standing up.
The standard way of holding the violin is with the left side of the jaw resting on the violin chinrest, and supported by the left shoulder, often aided by shoulder backs (or sponges and elastic rubber for young players struggling with shoulder backs). The jaw and shoulder should hold the violin strong enough to keep it stable when the left hand moves from the high position (high-pitched tone well above the fingerboard) to the low (closer to the pegbox). In Indian posture, the stability of the violin is guaranteed by the rolls leaning on the side of the foot.
While teachers show the importance of good posture both for the quality of play and to reduce the likelihood of repetitive strain injuries, suggestions like what a good posture and how to achieve it differ in details. Yet all insist on the importance of a natural relaxed position without any tension or rigidity. The almost universally recommended things are keeping the left wrist straight (or nearly close) to allow the fingers of the left hand to move freely and reduce the chance of injury and keep both shoulders in a natural relaxed position and avoid lifting one of them in a way that excessive. This, like other unwarranted tensions, will limit freedom of movement, and increase the risk of injury.
Hunching can hamper a good game, as it throws the body out of balance and keeps the shoulders up. Another sign that comes from unhealthy tension is the pain in the left hand, which shows too much pressure while holding the violin.
Left hand and pitch production
The left hand determines the length of the string to be heard, and thus the tone of the string, by "stopping" (pressing) against the fingerboard with the fingertips, produces a different tone. Because the violin does not have a fret to stop the strings, as always with the guitar, the player must know exactly where to place the fingers on the strings to play with a good intonation (tuning). Start the violinist playing the open string and the lowest position, closest to the nut. Students often start with relatively easy keys, such as A Major and G major. Students are taught scales and simple melodies. Through exercise scales and arpeggios and ear training, the violinist's left hand finally "finds" the record intuitively by muscle memory.
Beginners sometimes rely on tapes placed on the fingerboard for proper placement of the left hand finger, but usually leave the cassette quickly as they progress. Another common tagging technique is to use white dots on the fingerboard, which fade in a few weeks of regular practice. This practice, unfortunately, is used sometimes as a substitute for adequate ear training, guiding the placement of the finger with the eye and not with the ear. Especially in the early stages of learning to play, so-called "ring tones" are useful. There are nine notes in the first position, where a stop tone sounds in unison or octave with another string (open), causing it to resonate sympathetically. Students often use this ringtone to check the intonation of the stopped note by seeing if it is harmonious with the open string. For example, when playing a stopped tone "A" on the G string, violinist can play the D string open at the same time, to check the "A" intonation that is stopped. If "A" is aligned, "A" and the open D string will produce the fourth perfectly harmonic.
The violin is set in perfect fifths, like all the orchestral strings (violin, violin, cello) except double bass, which is set in the fourth perfect position. Each subsequent record is stopped in the field as perceived by the player as the most harmonious, "when not accompanied, [violinist] does not play consistently either on a temp or natural scale [but] tends to overall to match Pythagoras scale." When violinists play in string quartets or string orchestras, strings usually "sweeten" their tunes to match the keys they play. When playing with instruments tuned to the same temperament, like a piano, a skilled violinist adjusts their tuning to match the same temperament of the piano to avoid a discordant note.
The fingers are conventionally numbered 1 (index) to 4 (little finger) in musical notation, such as sheet music and etude books. Particularly in the instructional edition of violin music, the numbers above the note can indicate which finger is used, with 0 or O indicating an open string. The graph on the right shows the settings of the records that can be reached in the first position. Not shown on this graph is the way the distance between the position of the note becomes closer when the radius rises (in pitch) of the nut. The blades on the side of the graph represent the usual possibilities for beginner ribbon placement, at first finger, 2nd, 3rd, and 4th.
Position
The placement of the left hand on the fingerboard is indicated by "position". The first position, where most beginners start (although some methods start in the third position), is the position most often used in string music. Music composed for early young orchestras is often in the first position. The lowest record available in this position in the standard tuning is G open; the highest tone in the first position is played with the fourth finger on the E-string, audible B. Move the hand up the neck, so the first finger takes the second finger place, bringing the player to the second position Let the first finger take the first position of the third finger carry player to third position , and so on. Positional changes, with associated hand movements, referred to as shifting, and effective shifts maintain accurate intonation and smooth sound of legato (connected) are key elements of the technique at all levels.. Often "finger guides" are used; the last finger to play the tone in the old position continuously touches the strings during the shift to end in its proper place in the new position. In basic shift exercises, the "index finger" is often voiced as it slides up and down the strings, so players can determine with ears whether they land in the right place, but outside of this exercise should be rarely heard (unless the player consciously applies the portamento effect for reasons expressive).
During low position shifts, the thumb of the left hand moves up or down the neck of the instrument so that it remains in the same position relative to the radius (although thumb movement may occur slightly before, or slightly after, the motion of the fingers). In such a position, the thumb is often regarded as an 'anchor' whose location determines what position the player is playing. In a very high position, the thumb can not move with the finger when the body of the instrument inhibits. Instead, the thumb works around the neck of the instrument to sit at the point where the neck fills the right body attack, and stays there while the fingers move between the high positions.
A note played outside the normal compass of a position, without any shift, is referred to as extension . For example, in the third position on string A, hands naturally sit with the first finger on D ? and the fourth on G ? or G ? . Stretch your first finger back to C ? , or fourth finger to A ? , the form of an extension. Extensions are generally used in which one or two notes slightly out of the other solid positions, and provide an advantage because it is less disturbing than the shift or string that crossed. The lowest position on the violin is called the "half position". In this position, the first finger is on the "first low" note, e.g. B ? on string A, and fourth finger is in the down extension from its regular position, e.g. D ? on string A, with the other two fingers placed in between as required. Since the thumb position is usually the same in the "half position" as in the first position, it is better considered the rear extension of the whole hand than as the original position.
The upper limit of the violin range is largely determined by the skill of the player, who can easily play more than two octaves on one string, and four octaves on the instrument as a whole. Position names are mostly used for lower positions and in books and methods etudes; for this reason, seldom hear a reference to something higher than the seventh position. The highest position, practically, is the 13th position. A very high position is a particular technical challenge, for two reasons. First, differences in different note locations become much narrower in high positions, making the record more challenging to find and in some cases to differentiate with ears. Second, the length of the strings that are much shorter than the strings in very high positions is a challenge for the right arm and bending in the sound of the instrument effectively. The smoother (and more expensive) instrument, the better its ability to maintain a good tone right to the top of the fingerboard, at the highest note on the E string.
All records (except those under D open) can be played on more than one string. This is a standard design feature of the stringed instrument; However, it is different from the piano, which has only one location for each of its 88 records. For example, the note opening A on the violin can be played as A open, or on the D string (in first to fourth position) or even on the G string (very high in the sixth to the ninth position). Each string has a different tone quality, due to the different weights (thickness) of the string and due to the resonance of other open strings. For example, the G string is often regarded as a very loud sound which is perfect for late romantic music. This is often indicated in music by marking, for example, sul G or IV (the Roman number indicating playing on the fourth string; by convention, the strings are numbered from the thinnest, (I) to the lowest tone (IV).Even without explicit instruction in the score, the sophisticated violinist will use his own wisdom and artistic sensitivity to choose which string plays a particular note or part.
Open string
If a string is bent or plucked without a finger that stops it, it is said to be an open string . It gives a different sound from the stop strings, because the strings vibrate more freely in the nut than under the fingers. Further, it is impossible to use vibrato completely on open strings (although partial effects can be achieved by stopping an octave tone above the adjacent and vibrating string, which introduces the vibrato element to the tone). In the classical tradition, violinists will often use rope crossings or position shifts to allow them to avoid the timbre changes introduced by open strings. This is especially true for open E which is often regarded as a rough voice. However, there are also situations where open strings can be specifically chosen for artistic effects (especially in modern music), in classical music that mimics the drones of organs (JS Bach, in Partita in E for violin solos, achieves this), fiddling (for example, Hoedown ) or where taking steps to avoid open strings is inappropriate music (eg in baroque music where shift positions are less common). In the quick part of the scales or arpeggios, the open E string may only be used for convenience if the record does not have the time to ring and develop a hard timbre. In folk music, fanning and other traditional music genres, open strings are usually used for their resonance timbre.
Playing an open string simultaneously with a note that stops on adjacent strings produces a bagpipe-like drone, often used by composers in imitating folk music. Sometimes two identical tones (for example, playing A finger on string D against string A is open), giving a kind of ringing of the "fanning" sound. Playing an open string simultaneously with identical stop records can also be called when more volume is needed, especially in the orchestra game. Some classical violin sections have a note for which the composer asks the violinist to play an open string, due to a certain credibility created by an open string.
Double stop, three stops, chord and drone
A double stop is when two separate strings are stopped by the fingers, and bend simultaneously, resulting in the sixth, third, fifth, etc. harmony. Double-stops can be indicated in any position, although the widest interval that can be naturally halted in one position is an octave (with the first finger on the lower strings and fourth finger on the higher string). However, tithing intervals or even more are sometimes required to be stopped twice in the next game, resulting in a very stretchy left hand position with both fingers extended. The term "double stop" is often used to include an open string sound next to a finger note.
Where three or four simultaneous records are written, the violinist will usually "divide" the chord, choosing one or two lesser tones to play first before immediately proceeding to one or two notes. "Triple Stop" with three simultaneous records is possible in some circumstances. The bow will not naturally strike three strings at once, but if there is sufficient pressure on the bow, the middle strings can be bent temporarily so that the three sounds can beep. This is done with a heavy stroke, usually quite near the heel, and quite hard. Double stops in the orchestra are shared among the players if they do not feel comfortable with them, with half of the musicians playing a lower tone and the other half playing a higher tone. Sometimes, the composer will write "division" when he intends two lines to be played separately. Double stop play is a common thing when violins do coupling and other instruments play melodies.
In some Baroque music is not a split-chord or a proper triple-stop and violinist will arpeggiate all chords (and even what seems to be a regular stop double), play all notes individually as if they have been written as an obscure figure. In some musical styles, continuous open drone strings can be played during a section that is mainly written on adjacent strings, to provide basic companions. This is more often seen in folk traditions than in classical music. However, in the Baroque violin, triple-stop is more natural because the bridge is less curved, so it can be played like that.
Vibrato
Vibrato is a technique of the left hand and arm where the tone tone varies subtly in a pulsating beat. While various parts of the hand or arm may be involved in movement, the end result is the movement of the fingertips which causes a slight change in the length of the vibrating string, leading to undulation in the field. Some violinists oscillate backwards, or lower in the notes of actual notes when using vibrato, because it is believed that perception supports the highest notes in varying sounds. Vibrato do little, if any, to disguise the tone is not aligned; in other words, the incorrectly applied vibrato is a bad substitute for good intonation. Scales and other exercises intended to work on intonation are usually played without vibrato to make the job easier and more effective. Music students are often taught that unless marked with music, the vibrato is assumed. However, it should be noted that this is just a trend; there is nothing on the sheet music that forces the violinist to add vibrato. This can be an obstacle for classically trained violinists who want to play in a style that uses little or no vibrato at all, such as baroque music played in period style and many traditional game styles.
Vibrato can be produced with the right combination of fingers, wrists, and arm movements. One method, called the vibrato hand , involves swinging the hand back at the wrist to reach the oscillation, while another method, vibrato arm , modulates the pitch by rocking at the elbow. The combination of these techniques allows the player to produce a variety of tone effects. "When" and "for what" and "how much" violin vibrato are the artistic things of style and taste. Different teachers, music schools and music styles support different vibrato styles. For example, excessive vibrato can become annoying. In acoustic terms, the vibrato interest added to the sound is related to overtone mix (or tone, or timbre) and the projection sound pattern changes with pitch change. By "pointing" the sound in different parts of the room in a rhythmic fashion, the vibrato adds "luster" or "liveliness" to the well-made violin sounds. Vibrato, for the most part, is left to the wisdom of the violinist. Different types of vibrato will bring a different atmosphere to the pieces, and varying degrees and styles of vibrato are often prominent characteristics in famous violinists.
Vibrato trill
Vibrato can also be used for fast vibration. Vibration starts from just hammering the finger up and down on the fingerboard will create a harder quality than vibration vibration. For example, if the trill is on the first finger, the second finger is placed very little of the string and the vibrato is implemented. The second finger will slightly touch the strings above the first finger causing the tone to change. It has a softer quality and many think it's better than the hammered shake. Note: This trill technique only works well for semi-tonal trills, it is much harder to vibrate during tone intervals or more.
Harmonics
Touching the strings with the fingertips on the harmonic node, but without fully pressing the strings, and then pulling or bending the strings, creating the harmonics. Instead of a normal tone, a higher-pitched tone is heard. Each node is in the division of integer strings, for example halfway or one-third along the length of the string. The responsive instrument will ring many possible harmonic nodes along the string. Harmonics are characterized in good music with a small circle on the record that determines the harmonic tone, or by a diamond shaped head. There are two types of harmonics: natural harmonics and artificial harmonics (also known as false harmonics ).
Natural harmonics are played on open strings. Pitch of the open string when plucked or bending is called the fundamental frequency. Harmonics are also called excessive tones or partial . They occur in a number of multiples of the fundamentals, called the first harmonics. The second harmonic is the first ringtone (octave above the open string), the third harmonic is the second note, and so on. The second harmonic is in the center of the string and sounds an octave higher than the pitch string. The third harmonic breaks the string into three and sounds an octave and a fifth above the fundamentals, and the fourth harmonic breaks the string into a quarter that sounds two octaves above the first. The second harmonic sound is the most obvious of them all, because it is a common node with all successful even numbered harmonics (4, 6, etc.). Third and continue the odd-odd dynamics are harder to play because they break strings into odds and do not share many vertices with other harmonics.
Artificial harmonics are more difficult to produce than natural harmonics, as they involve both stopping the string and harmonic play on the discontinued note. Using the octave frame (the normal distance between the first and fourth fingers in any position) with the fourth finger only touches the fourth string higher than the record that stopped generating the fourth harmonic, two octaves above the stop note. The placement and pressure of the fingers, as well as the velocity of the arc, the pressure, and the point of sound are all important in getting the desired harmonics to sound. And to add to the challenge, in parts with different notes that are played as fake harmonics, the distance between the finger and finger harmonic fingers should keep changing, as the distance between records changes along the length of the string.
The finger harmonics can also touch the upper third of the pressed note (fifth harmonic), or the fifth higher (the third harmonic). This harmony is less commonly used; in a big third case, both the note is stalled and the note touched should be played a little sharply if not the harmonics do not speak easily. In the fifth case, stretching is greater than comfortable for many violinists. In general repertoire fractions smaller than sixth are not used. However, divisions until the eighth are sometimes used and, given the good instruments and skilled players, the division as small as a twelve is possible. There are several books dedicated solely to the study of the violin harmonica. Two comprehensive works are the seven volumes of Henryk Heller's Theory of Harmonics, published by Simrock in 1928, and the five volumes of Michelangelo Abbado Tecnica dei suoni armonici were published by Ricordi in 1934.
The intricate parts in artificial harmonics can be found in the virtuoso violin literature, especially from the 19th century and early 20th century. Two notable examples of this are all parts of Vittorio Monti CsÃÆ'¡rdÃÆ'¡s and a section towards the middle of the third movement of the Pyotr Violin Concert Tlyaikovsky. Part of the third movement of Violin Concerto no. 1 (Paganini) consists of two thirds that stop in harmonics.
When a string is worn, dirty and old, the harmonics may no longer be accurate in tone. For this reason, violinists change their strings regularly.
Right hand color and tone
The strings may be heard by drawing a bow hair held by the right hand above it ( arco ) or by plucking it ( pizzicato ) most often with the right hand. In some cases, the violinist will pluck the strings with his left hand. This is done to facilitate the transition from pizz to arco play. It is also used in some virtuoso displays. Handrail left hand is usually a string open. Pizz is used on all violin family instruments; However, the systematic study of the most advanced pizzicato technique developed in jazz bass, a style in which instruments are mostly played pizzicato.
The right arm, hand, and bow and arc speed are responsible for the quality of tone, rhythm, dynamics, articulation, and most (but not all) timbre changes. The player pulls an arc over the strings, causing the strings to vibrate and produce a continuous tone. The bow is a wooden stick with a tightened ponytail, which has been boiled with a rosin. The natural texture of horsehair and adhesion of rosin helps the bow to "grip" the rope, and thus when the bow is pulled over the strings, the bow causes the strings to be heard.
Bowing can be used to produce long-lasting tones or melodies. With the strings section, if players in a section change their arcs at different times, a record can be seen continuing non-stop. In addition, the bow can be used to play short, sharp short notes, such as repetitive notes, scales and arpeggios, which provide a rhythmic thrust in many musical styles.
Technique bending
The most important part of the bending technique is the bow handle. Usually the thumb is bent in a small area between the frog and the bow curve. The other fingers are spread evenly over the top of the bow. The little finger is curled up with the fingertips placed on the wood next to the screws. The violin produces a louder tone with a greater or heavier arc speed on the strings. Both methods are not equivalent, because they produce different tone colors; pressing the rope tends to produce a louder and more intense sound. One can also achieve a louder sound by placing the bow closer to the bridge.
The audible dot where the bow cuts the string also affects the timbre (or "tone color"). Playing close to the bridge ( sul ponticello ) provides a more intense sound than usual, emphasizing higher harmonics; and playing with a bow at the end of the fingerboard ( sul tasto ) makes a subtle, smooth sound, emphasizing the basic frequency. Dr. Suzuki refers to the point that sounds as Kreisler highway ; one might think of different points as the path on the highway.
Various methods of attack with arcs produce different articulations. There are many bending techniques that allow for different styles of play and many teachers, players, and orchestras spend much time developing techniques and creating integrated techniques in groups. These techniques include legato-style bending (smooth, connected, sustained sound suitable for melody), collà © Ã… ©, and various arcs that produce short notes, including bounces, sautillà © Ã… ©, martelÃÆ' ©, spiccato, and staccato.
Pizzicato
A note marked pizz. (abbreviation for pizzicato ) in written music is played by plucking the strings with the fingers of the right hand instead of bending. (The index finger is most often used here.) Sometimes in the orchestra or virtuoso solo music where the bow arms are occupied (or for show effects), the left pizzicato will be indicated by (plus sign) in down or above note. In the left pizzicato, two fingers are placed on the rope; one (usually the index or middle finger) is placed on the correct note, and the other (usually the ring finger or little finger) is placed on the note. The higher fingers then strum the lower while the string remains lit, thus producing the correct tone. By increasing the power of picking, one can increase the volume of the tone the string generates. Pizzicato is used in orchestral works and in single displays. In the orchestra section, violin players often have to make very quick changes from arco to pizzicato, and vice versa.
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Tagging col legno (Italian for "with wood") in a music call written to strike a string with a bow stick, not by drawing a hair from a bow on a string. This bending technique is rarely used, and produces muted percussion sounds. The frightening quality of the violin section that plays col legno is exploited in some symphonic pieces, especially "Witches' Dance" from the last movement of Berlioz's Symphonie Fantastique. The symphonic verse of Saint-Sa'Ns Danse Macabre includes a string section using the col legno technique to mimic the sound of a dancing skull. "Mars" from Gustav Holst "The Planets" uses col legno to play a repeatable rhythm in 5
4 signature time. Benjamin Britten Young Guides for the Orchestra demands its use in Variations "Percussion". Dmitri Shostakovich used it in the Fourteenth Symphony in the movement 'In Prison Sante'. However, some violin players object to this style of play because it can damage the final result and damage the fine arc value, but most of it will compromise by using a cheap arc at least as long as the part in question.
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The stroke is smooth and even during the speed and weight of the same arc from the beginning of the stroke to the end.
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Literally hammered , the strongly accented effect is generated by releasing each force by force and abruptly. MartelÃÆ'Â © can be played in any part of the bow. Sometimes it is shown in music written by arrow heads.
Tremolo
Tremolo is a very fast repetition (usually from a single note, but sometimes from a few notes), usually played at the end of an arc. The tremolo is marked with three short, oblique lines on the note bar. Tremolo is often used as a sound effect in orchestral music, especially in the era of Romantic music (1800-1910) and in opera music.
Mute or sordino
Installing a small, rubber, leather, or wooden device called mute , or sordino , to the viola bridge gives a softer, softer tone, with fewer additional tones ; sounds from all parts of the string orchestra playing with the mute have a quiet quality. Mute changes both the loudness and the timbre ("tone") of the violin. The conventional Italian sign for silent use is con sord. , or con sordino , which means 'by mute'; and senza sord. , meaning 'without mute'; or via sord. , which means 'mute off'.
Larger metal, rubber, or mute wood is widely available, known as mute exercise or mute hotel. Such mutes are generally not used in performances, but are used to turn off violin sounds in exercise areas such as hotel rooms. (For practice purposes there are also silent violins, violins without ballot boxes.) Some composers have used the practice of mute for special effects, for example, at the end of Luciano Berio Sequenza VIII for solo violin..
Music styles
Classic music
Since the Baroque era, violin has become one of the most important of all instruments in classical music, for several reasons. The violin tone protrudes above other instruments, making it suitable for playing melodic lines. In the hands of a good player, the violin is very agile, and can perform a series of fast and difficult notes.
The violin forms most of the orchestra, and is usually divided into two parts, known as the first and second violins. Composers often deliver melodies on the first violin, usually the more difficult part of using a higher position, while the second violin plays harmony, a companion pattern or an octave lower than the first violin. The string quartet also has sections for first and second violins, as well as viola parts, and bass instruments, such as cello or, rarely, double bass.
Jazz
The earliest reference to jazz performance using violins as a solo instrument was documented during the first decade of the 20th century. Joe Venuti, one of the first jazz violinists, was known for his work with guitarist Eddie Lang during the 1920s. Since then there have been many improvised violinists including StÃÆ'Â © phane Grappelli, Stuff Smith, Eddie South, Regina Carter, Johnny Frigo, John Blake, Adam Taubitz, Leroy Jenkins, and Jean-Luc Ponty. Although not primarily jazz violinists, Darol Anger and Mark O'Connor have spent most of their careers playing jazz. Swiss-Cuban violinist Yilian CaÃÆ' Â ± izares combines jazz with Cuban music.
Violins also appear in ensembles that supply orchestral background to many jazz recordings.
Indian classical music
The Indian violin, while essentially the same instrument as used in Western music, differs in some respects. The instrument is tuned so that the IV and III strings (G and D on the west-tuned violin) and II and I (A and E) are the sole pairs (do-sol) and sound the same but are balanced by an octave resembling a scordatura or puzzle- common crosswords like GDGD or AEAE. The sa tonic (do) is not fixed, but varies set to accommodate the vocalist or main player. The way musicians hold musical instruments varies from West to Indian music. In Indian music the musicians sit on the floor with their right legs in front of them. The instrument roll is resting on the foot. This position is important to play well because of the nature of Indian music. The hand can move across the fingerboard and no position is set for the left hand, so it is important for the violin to be in a steady and immobile position.
Popular music
Until at least the 1970s, most popular types of music used the bent part of the string. They are widely used in popular music throughout the 1920s and early 1930s. With the advent of swing music, however, from 1935 to 1945, the sound of strings was often used to add to the fullness of the band's great music. After the swing era, from the late 1940s to the mid-1950s, strings began to be revived in traditional pop music. This trend was accelerated in the late 1960s, with a significant revival of string usage, especially in soul music. The popular Motown recordings of the late 1960s and 1970s relied heavily on strings as part of their trademark texture. The advent of disco music in the 1970s continued this trend with the use of heavy string instruments in popular disco orchestras (eg, Unlimited Love Orchestra, Biddu Orchestra, Monster Orchestra, Salsoul Orchestra, MFSB).
With the advent of electronically crafted music in the 1980s, a descending violin was used, because the sounds of synthesized strings played by keyboardists with synthesizers took their place. However, while the violin has very little use in mainstream rock music, it has some history in progressive rock (eg, Electric Light Orchestra, King Crimson, Kansas, Gentle Giant). The 1973 album Contaminazione by the Italian RDM plays the violin against the synthesizer at its end ("La grande fuga"). This instrument has a stronger place in modern jazz fusion bands, especially The Corrs. The violin is sometimes a part of British folk rock music, as exemplified by the likes of Fairport Convention and Steeleye Span.
The popularity of crossover music beginning in the last years of the 20th century has brought the violin back into the arena of popular music, with electric and acoustic violins used by popular bands. Dave Matthews Band features Boyd violinist Tinsley. The Flock featured violinist Jerry Goodman who later joined the jazz-rock fusion group, The Mahavishnu Orchestra. James' Saul Davies, who is also a guitarist, is listed by the band as a violinist. For their first three albums and related singles, the English group No-Man made extensive use of violin solo electrically and acoustically played by band member Ben Coleman (who played the violin exclusively).
Pop-Punk Yellowcard Band has made a violin mainstay in his music. Violinist Sean Mackin has been a member of the band since 1997. Los Salvadores also combines punk and ska influences with violin. Doom metal band My Dying Bride has been using the violin as part of their line-up on many of their albums. The violin appears prominently in the music of the Spanish folk music group MÃÆ'¤go de Oz (for example, in their 1998 hit "Molinos de vient
Source of the article : Wikipedia
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