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VIOLIN
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VIOLIN , a musical See also:instrument consisting essentially of a resonant See also:box of See also:peculiar See also:form, over which four strings of different thicknesses are stretched across a See also:bridge See also:standing on the box, in such a way that the tension of the strings can be adjusted by means of revolving pegs to which they are severally attached at one end. The strings are tuned, by means of the pegs, in fifths, from the second or A See also:string, which is tuned to a fundamental See also:note of about 435 vibrations per second at the See also:modern normal See also:pitch: thus giving -'7 as the four open notes. To produce other notes of the See also:scale the length of the strings is varied by stopping them with the fingers on a See also:finger-See also:board, attached to a " See also:neck " at the end of which is the " See also:head " in which the pegs are inserted. The strings are set in vibration by See also:drawing across them a See also:bow strung with See also:horse-See also:hair, which is rosined to increase See also:adhesion. The characteristic features which, in See also:combination, distinguish the violin (including in that See also:family name its larger brethren the See also:viola and the See also:violoncello) from other stringed See also:instruments are: the restriction of the strings to four, and their tuning in fifths; the peculiar form of the See also:body, or resonating chamber, especially the fully moulded back as well as front, or belly; the shallow sides or " ribs " See also:bent into characteristic curves; the acute angles of the corners where the curves of the ends and See also:middle " bouts " or See also:waist ribs meet; and the position and shape of the See also:sound-holes, cut in the belly. Bya See also:gradual See also:process of development in all these particulars the modern violin was evolved from earlier bowed instruments, and attained its highest perfection at the hands of the See also:great See also:Italian makers in the 16th, 17th and See also:early 18th centuries, since which See also:time, although many experiments have been made, no material improvement has been effected upon the form and mode of construction then, adopted. The body, or See also:sounding-box, of the violin is built up of two arched plates of thin See also:wood, the belly and the back, See also:united by See also:side pieces or ribs to form a shallow box. The belly is cut from soft elastic wood, See also:pine being universally used for this purpose, while the back is made of a See also:close-grained wood, generally sycamore or See also:maple. Both back and belly are carved to their See also:model from the solid, but for utilitarian reasons are generally, though not always, built up of two See also:longitudinal sections; while the sides or ribs, of very thin sycamore or maple, usually in six sections, are bent on a See also:mould, by the aid.of See also:heat, to the required form. Into the corners are glued corner-blocks of soft wood, which help to retain the ribs in their sharply recurved form, and materially strengthen the whole structure. Into the See also:angle of the See also:joints between the sides and the back and belly are glued thin lining strips, bent to the mould, giving a bearing See also:surface for the glued See also:joint along the whole outline of the instrument; while, in addition, end blocks are inserted at the head and bottom of the body, the former to receive the See also:base of the neck, and the latter the " tail See also:pin " to which is attached the tail-piece, carrying the See also:lower (fixed) ends of the strings. The belly is pierced with two sound- holes in the form of it near, and approximately parallel to, the " bouts." The See also:size, shape and position of these holes have an important See also:influence on the See also:character of the See also:tone of the instrument, and See also:present distinctive See also:variations in the instruments of the different great makers. The neck, made of maple, is glued and now always mortised into the See also:block at the upper end of the body,' bearing against a small semicircular See also:projection of the back, and is inclined at such an angle that the finger-board, when glued on to its upper surface, may See also:lie clear of the belly, over which it projects, but in such relation to the height of the bridge as to allow the strings to be stretched nearly parallel to, and at a convenient distance above, its own surface. The bridge, cut out of maple, in the peculiar form devised by See also:Stradivari in the 17th See also:century, and not since materially departed from, is in the violin about it in. high by 14 in. wide, and tapers in thickness from about a in. at the base to at the See also:crown; but the dimensions of this very important member vary for different instruments according to the See also:arch of the belly, the strength of the wood and other considerations. It is placed on the belly exactly midway between the sound-holes and in such a position as to stand on a transverse See also:line dividing the surface into two approximately equal areas, that is, about r in. below the middle, the lower end of the body being wider than the upper See also:part or shoulders; whereby a greater length is rendered available for the vibrating portion of the strings. A See also:short distance behind the right See also:foot of the bridge, the sound-See also:post, a See also:rod of soft pine about i in. thick, is fixed inside the body in contact with the belly and the back, and serves directly, not only to sustain the belly against the pressure of the bridge under the tension of the strings, but to convey vibrations to the back. It also exercises a very important influence on the nodal arrangement of these vibrating plates. The pressure of the other foot of the bridge, where the tension of the See also:fourth string is far less than that of the first string, is partly sustained by the See also:bass-See also:bar—a See also:strip of wood tapering from the middle to both ends, which is glued underneath the belly and extends to within rather less than 2 in. of the ends of the instrument. This fitting not only serves to strengthen the belly mechanically, but exerts a profound effect upon the vibrations of that See also:plate. The fixed structure is completed by the head, which surmounts the neck and consists primarily of a narrow box into the sides of which are inserted the pegs See also:round which. the See also:free ends of the strings are See also:wound. The head is finished by an ornamentation which in the hands of the Italian makers followed the traditional See also:pattern of a See also:scroll, or See also:volute, offering the skilled craftsmen See also:infinite See also:scope for boldness and freedom in its See also:execution; but sometimes, especially in the Tirolean instruments, it was carved in the form of an See also:animal's head, usually a See also:lion's. The strings, fastened at one end to an See also:ebony tail-piece or See also:tongue, which is itself attached by a gut See also:loop to the pin at the base of the instrument, pass over the bridge, along the finger board and over the See also:nut (a See also:dwarf bridge forming the termination of the finger-board) to the pegs. The effective vibrating portion of the strings is accordingly the length between the nut and the bridge, and See also:measures now ' Up to about the See also:year 1800 the old Italian makers, including Stradivari (in his earlier instruments), usually strengthened the See also:attachment of the neck by See also:driving nails, frequently three and some-times four, through the See also:top block into the base of the neck, which was not mortised into the block. in an See also:ordinary full-sized violin about 13 in. The portion of the strings to which the bow is applied lies over the space, measuring about 2*-, in., between the bridge and the free end of the finger-board. The strings are manufactured from so-called See also:catgut, made from the intestines of See also:lambs, and range in thickness from the first to the third or D string from •o26 to .046 in. more or less. The necessary See also:weight is given to the string of lowest pitch, G, without unduly sacrificing its See also:elasticity, by winding a thin gut string with See also:fine See also:silver See also:wire to about the same thickness as the A string. An ornamental feature characteristic of nearly all violins is the purfling, a very thin slip of wood with margins of ebony or (rarely) See also:whalebone, inlaid in thin strips close to the edge of both plates, and following the entire outline of the instrument. In some instruments, especially of the Brescian school, a See also:double line of purfling was inserted. The See also:total number of pieces of wood of which the violin is composed amounts to about 70, varying, as the plates are made in one piece or built together, and with the number of sections in which the ribs are put together. Of this number 57 pieces are built into the permanent structure, while 13 may be described as fittings. The whole of the permanent structure is cemented together with See also:glue alone, and it is a striking testimony to the See also:mechanical conditions satisfied by the See also:design, that the instrument built of such slender material withstands without deformation the considerable stresses applied to it. It is worthy of remark that after the See also:lapse of so many years, since it attained perfect musical efficiency, no unessential See also:adjunct has entered into the construction of this instrument. No See also:play of See also:fancy has grafted anything beyond quite See also:minor ornamentation on a See also:work of See also:art distinguished by its simplicity of pure outline and proportion. The following are the exact See also:principal dimensions of a very fine specimen of Stradivari's work, which has been preserved in perfect See also:condition since the latter end of the 17th century: Length of body . . =14 in. full. Width across top =6H in. See also:bare. Width across bottom =8s in. Height of sides (top) =1 Height of sides (bottom) . . . . = Icy The back is in one piece, supplemented a little in width at the lower part, after a See also:common practice of the great makers, and is cut from very handsome wood; the ribs are of the same wood, while the belly is formed of two pieces of soft pine of rather fine and beautifully even See also:grain. The sound-holes, cut with perfect precision, exhibit much See also:grace and freedom of design. The scroll, which is very characteristic of the maker's See also:style and beautifully modelled, harmonizes admirably with the See also:general modelling of the instrument. The mode'. is flatter than in violins of the earlier See also:period, and the design bold, while displaying all Stradivari's microscopic perfection of workmanship. The whole is coated with a very fine See also:orange-redbrown See also:varnish, untouched since it See also:left the maker's See also:hand in 169o, and the only respects in which the instrument has been altered since that date are in the fitting of the longer neck and stronger bass-bar necessitated by the increased See also:compass and raised pitch of modern violin See also:music. The measurements given above are the same as those of a well-known Stradivari of later date (1714). The See also:acoustics of the violin are extremely complex, and not-withstanding many investigations by men of See also:science, and the Acoustics' enunciation of some plausible hypotheses with regard to details of its operation as a musical instrument, remain as a whole obscure. So far as the elementary principles which govern its See also:action are concerned, the violin follows See also:familiar See also:laws (see SOUND). The different notes of the scale are produced by vibrating strings differing in weight and tension, and varying in length under the hand of the player. The vibrations of the strings are conveyed through the bridge to the body of the instrument, which fulfils the common See also:function of a resonator in reinforcing the notes initiated by the strings. So far first principles carry us at once. But when we endeavour to elucidate in detail the causes of the peculiar character of tone of the violin family, the great range and variety in that character obtained in different instruments, the extent to which those qualities can be controlled by the bow of the player, and the mode in which they are influenced by See also:minute variations in almost every component part of the instrument, we find ourselves faced by a See also:series of problems which have so far defied any but very partial See also:solution. The distinctive quality of the musical tones of the violin is generally admitted to be due largely to its richness in the upper See also:harmonic or partial tones superimposed on the fundamental notes produced by the See also:simple vibrations of the strings. The characteristic tone and its See also:control by the player are undoubtedly conditioned in the first See also:place by the peculiar path of thevibrating string under the action of the rosined bow. This takes the form not of a symmetrical oscillation but of a See also:succession of alternating See also:bound and free movements, as the string adheres to the bow according to the pressure applied and, releasing itself by its elasticity, rebounds. The lightness of the material of which the strings are made conduces to the See also:production of very high upper partial tones which give brilliancy of sound, while the See also:low elasticity of the gut causes these high constituents to be quickly damped, thus softening the ultimate quality of the note. In See also:order that the resonating body of the instrument may fulfil its highest purpose in reinforcing the complex vibrations set up by the strings vibrating in the manner above described, not only as a whole, but in the number of related segments whose oscillations determine the upper partial tones, it is essential that the plates, and consequently the body of See also:air contained between them, should See also:respond sensitively to the selective impulses communicated to them. It is the attainment of this perfect selective responsiveness which marks the construction cf the best instruments. Many factors contribute to this result. The thickness of the plates in different parts of their areas, the size and form of the interior of the body, the size and shape of the sound-holes through which the vibrations of the contained air are communicated to the See also:external air, and which also influence the nodal points in the belly, according to the number of See also:fibres of the wood cut across, varying with the angle at which the sound-holes See also:cross the grain of the wood. Their position in this respect also affects the width of the central vibrating portion of the belly under the bridge. All these important factors are influenced by the quality and elasticity of the wood employed. Much has been written and many speculations have been advanced with regard to the superiority in tone of the old Italian instruments over those of modern construction. This superiority has sometimes been disputed, and, judging from the many examples of second-See also:rate instruments which have survived from the 17th and 18th centuries, it is certain that antiquity alone does not confer upon violins the merits which have frequently been claimed for it. When, however, we compare the comparatively few really fine specimens of the Italian school which have survived in See also:good condition, with the best examples of modern construction in which the proportions of the older masterpieces have been faithfully followed, and in which the most careful workmanship of skilled. hands has been embodied, it cannot be denied that the former possess a superiority in the quality of their tone which the musical See also:ear immediately recognizes. After taking into See also:account the See also:practical identity in dimensions and construction between the classical and many of the best modern See also:models, the conclusion suggests itself that the difference must be attributed to the nature of the materials used, or to the method of their employment, as influenced by See also:local conditions and practice. The See also:argument, not infrequently advanced, that the great makers of See also:Italy had See also:special local See also:sources of See also:supply, jealously guarded, for wood with exceptional acoustical properties, can hardly be sustained. Undoubtedly they exercised great care in the selection of sound and handsome wood; but there is See also:evidence that some of the finest wood they used was imported from across the Adriatic in the ordinary course of See also:trade; and the See also:matter was for them, in all See also:probability, largely one of expense. There is good See also:reason to suppose that a far larger choice of equally good material is accessible to modern makers. There remains the varnish with which the completed instrument is coated. This was an See also:item in the manufacture which received most careful See also:attention at the hands of the great makers, and much importance has been attached to the superiority of their varnish over that used in more See also:recent times—so much so that its See also:composition has been attributed to See also:secret processes known only to themselves. The probability is that they were able to exercise more See also:personal selection of the materials used than has been generally practised by makers dependent upon comme cial products under modern conditions, and the general result has been analogous to that seen in the See also:pigments employed by modern painters as compared with those made up for themselves by the old masters who could ensure perfect purity in their ingredients. But that the Italian makers individually or collectively attempted, or were able, to preserve as a secret the composition of the varnish they used is unlikely. Instruments exhibiting similar excellence in this respect were too widespread in their range, both of period and locality, to justify the See also:assumption that the general composition of the finest varnish of the early makers was not a matter of common knowledge in an See also:industry so flourishing as that of violin-making in the 17th and early 18th centuries. The excellence of an instrument in respect of its varnish depended on the quality of the constituent materials, on the proportions in which they were combined, and, perhaps mainly, on the method of its application. The most enduring and perfect varnish used for violins is an oil varnish, and the best results there-with can only be obtained under the most advantageous conditions for the drying process. In this respect there can be no doubt that the See also:southern See also:climate placed the makers whose work lies in higher latitudes at a disadvantage. In a See also:letter to Galileo in 1638 concerning a violin he had ordered from See also:Cremona, the writer states that " it cannot be brought to perfection without the strong heat of the See also:sun "; and all recorded experience indicates the great importance of slow drying of the varnish under suitable conditions. Stradivari himself wrote to account for delay in the delivery of an instrument because of the time required for the drying of the varnish. That a perfect varnish conduces to the preservation of a fine tone in the instrument is generally admitted; and its operation in this respect is due, not merely to the external See also:protection of the wood from deterioration, but especially to its action, when supplied under favourable conditions to wood at a ripe See also:stage of seasoning (when that process has proceeded far enough, but not so far as to allow the fibres to become brittle), in soaking into the pores of the wood and preserving its elasticity. This being so, successful varnishing will be seen to be an operation of great delicacy, and one in which the old masters found full scope for their skill and large experience. The effects, upon the vibrational qualities of the wood, of thickness of coat, texture and gradual absorption into the pores of the wood under favourable conditions of drying, are great and far-reaching, as is proved in the survival through two centuries of the great qualities of the specimens most fittingly treated in this respect. After the early part of the 18th century the use of the fine oil varnish employed by the great makers was gradually abandoned, See also:con-currently with the decline of the instrument maker's art in Italy. Except in the hands of the fast-diminishing See also:band of craftsmen trained in the old traditions, its place was taken by the newer spirit varnishes which, with their See also:quick-drying qualities and ease of application, satisfied the requirements of the more cheaply manufactured instruments of the period following the See also:death of Stradivari; and before the end of the century these inferior varnishes had quite supplanted the old recipes. Having regard to all these considerations it is not unreasonable to conclude that the varnish of the old instruments contributed probably the most important single See also:element of their superiority in tone to their more modern copies. It must, however, be See also:borne in mind that the instrument makers of the 16th and 17th centuries carried on a great and flourishing and a highly eveloped See also:craft; and that their best creations owe their distinction largely to causes similar to those which produced the great art See also:works of the same Period. The violin makers had a lifelong training in their craft. The productions of the famous among them were eagerly sought after. Throughout western See also:Europe the highest in the See also:land were true amateurs of music; and vied with one another to secure the masterpieces of See also:Brescia and Cremona. In such circumstances the trained See also:judgment and wide experience of the craftsman were naturally concentrated upon securing the preliminary conditions of high excellence in his work: the choice of sound and handsome wood; perfection of design and workmanship; the composition of his varnish, and the utmost care and skill in applying it under the best conditions; and, not least important, time for deliberate and thoughtful production. The masterpieces of that period were not constructed upon any exact or scientific See also:system, but were the See also:pro-ducts of development of a traditional craft working on empirical lines. Such theories of their construction as have been propounded are based on See also:analysis of an already perfected organism; and careful See also:historical See also:research has revealed no See also:record or trace of laws or rules by which the great makers worked. Elaborate attempts have been made, notably by Savart early in the 19th century, to educe from experiments on the elasticities and vibration periods of various specimens of wood used in some of the older instruments an exact system for the See also:adjustment of these factors to the production of the best results; adjustment data obtained by experiments with test specimens of See also:regular shape do not carry us very far when applied to so complex and irregular a structure as the violin. The vibrating plates of the violin are neither symmetrical nor See also:uniform in dimensions. They are not free plates, but are fixed round the whole edge of a very irregular outline; and these conditions, taken together with their unsymmetrically arched form, held under pressure by the tension of the strings, establish a See also:state of complex stresses under vibration which have so far escaped analysis. Their vibratory movements are moreover influenced by so many See also:accessory features of the instrument, such as the bass-bar, already described, the reaction of the sound-post, and the different pressures by the two feet of the bridge, that it is impossible to figure closely the vibrations of any given See also:area of the instrument. It is certainly very remarkable that so precise a pattern of irregular form should have been arrived at empirically, and should have survived as the See also:standard, apparently for all time. Not only is the arch of the plates unsymmetrical in its longitudinal See also:section, but, as is less commonly noticed, the upper bouts, especially in violins of the Cremona school, are slightly shallower than the lower; so that the edges of the belly are not strictly oarallel to those of the back, but the two plates converge in the direction of the head. Probably the most successful attempts at analysing the vibrations of the violin have been those made by See also:Sir See also: Experiments on similar lines made with an actual violin body might throw further See also:light upon the behaviour of that instrument as a resonator; but such researches See also:entail prolonged investigation. Two phenomena, familiar to violin players, are suggestive of further lines of research that may help to elucidate the problems of the localization of the principal responses in the body of the violin, and of the action of the wood under vibration. Many violins, especially old and inferior ones, fail to resonate clearly and fully to particular notes, the sounds produced being commonly known as " See also:Wolf " notes; and these notes are, certainly sometimes and possibly always, associated with particular spots in the body of the instrument; for, if pressure be applied at these spots, the resonance of the respective " Wolf " notes is improved. This observation suggests that the region concerned has been cut, or has become disproportionately thin in relation to the normal thickness of the plate; and, when stimulated by the appropriate note, sets up a local system of vibrations, which interfere with, instead of sharing, the proper vibrations of the plate as a whole; this interfering vibration being damped by local pressure. These defects are said to develop with See also:age and See also:constant use, and to be minimized by the use of thin strings but aggravated by thick ones; a circumstance which tends to support the See also:hypothesis of thin regions in the plate, which might be expected to respond more truly to the vibrations of lighter, than to those of heavier strings. Detailed investigation of these phenomena on the lines of the experiments already referred to may have valuable results. Another well-known characteristic of the violin is that a new instrument, or one that has been See also:long in disuse, is found to be " sleepy," that is, it fails to speak readily in response to the bow, a defect which gradually disappears with use. Experiments made to test the effect of prolonged trans-See also:verse vibrations upon strips of suitable wood have shown that such treatment increases the flexibility of the wood, which returns to its normal degree of rigidity after a period of See also:rest. No conclusive See also:interpretation of these experiments has yet been offered; but they indicate the probability of modifications of the See also:internal viscosity of the wood, by molecular changes under the influence of continued vibratory See also:movement. The function of the bridge, as above mentioned, is to communicate the vibrations of the strings to the resonating body of the violin. This communication is made mainly, though not entirely, through the left foot of the bridge, which under the comparatively low tension of the G string rests with light pressure upon the belly, which at that point has accordingly greater freedom of movement than under the other foot, in proximity to which the sound-post, extending from back to belly, maintains that region of the plates in a state of relative rigidity, See also:tinder the high tension of the E string. The view, however, maintained by some writers that the right toot of the bridge communicates no vibrations directly to the belly is inaccurate. The See also:main See also:object of placing the sound-post some distance behind, instead of immediately under, the bridge foot is to allow the belly under that foot to vibrate with some freedom. This has been proved by the destructive effect produced upon the tone by fixing the sound-post immediately under the foot of the bridge.
The form into which the bridge is fretted after the pattern devised by Stradivari has given rise to some See also:speculation; but the See also:justification of this form is probably to be found in the explanation pro-pounded by Sir William Huggins, namely, that the strings, when agitated by the bow, vibrate in a See also:plane oblique to the See also:vertical See also:axis of the bridge; the vibrations may be accordingly resolved into two components, one See also:horizontal along the length of the bridge, the other vertical—that is, in a direction favourable for setting the belly into vibration across its lines of support.
It is advantageous to maintain simplicity in direction of the vibrations communicated to the body, and therefore to eliminate
the transverse vibrations before they reach the belly. This is accomplished by a certain lateral elasticity of the bridge itself, attained by under-cutting the sides so as to allow the upper See also:half of the bridge to oscillate or See also:rock from side to side upon its central See also:trunk; the work done in setting up this oscillation absorbing the transverse vibrations above mentioned.
The function of the sound-post is on the one hand mechanical, and on the other acoustical. It serves the purpose of sustaining the greater share of the pressure of the strings, not so much to See also:save the belly from yielding under that pressure, as to enable it to vibrate more freely in its several parts than it could do, if unsupported, under the stresses which would be set up in its substance by that pressure. The chosen position of the post, allowing some freedom of vibration under the bridge, ensures the belly's proper vibrations being directly set up before the impulses are transmitted to the back through the sound-post: this transmission being, as already shown, its principal function. The post also by its contact with both vibrating plates is, as already shown, a governing See also:factor in determining the nodal See also:division of their surfaces, and its position therefore influences fundamentally the related states of vibration of the two plates of the instrument, and the See also:compound oscillations set up in the contained body of air. This is an important element in determining the tone character of the instrument.
The immediate ancestors of the violins were the viols, which were the principal bowed instruments in use from the end of the
15th to the end of the 17th century, during the latter Htsgorv. part of which period they were gradually supplanted by the violins; but the bass See also:viol did not go out of use finally until towards the later part of the 18th century, when the general See also:adoption of the larger pattern of violoncello drove the viol from the See also: Excepting the marine See also:trumpet or bowed monochord, we find in Europe no trace of any large bowed instruments before the See also:appearance of the viols; the bowed instruments of the middle ages being all small enough to be rested on or against the See also:shoulder during performance. The viols probably owe their origin directly to the minnesinger fiddles, which possessed several of the typical features of the violin, as distinct from the See also:guitar family, and were sounded by a bow. These in their turn may be traced to the " guitar See also:fiddle " (q.v.), a bowed instrument of the 13th century, with five strings, the lowest of which was longer than the rest, and was attached to a peg outside the head so as to clear the nut and finger-board, thus providing a fixed bass, or See also:bourdon. This instrument had incurved sides, forming a waist to facilitate the use of the bow, and was larger than its descendants the fiddles and violins. None of these earlier instruments can have had a deeper compass than a boy's See also:voice. The use of the fidel in the hands of the troubadours, to accompany the adult male voice, may explain the attempts which we trace in the 13th century to lengthen the See also:oval form of the instrument. The parentage of the fiddle family may safely he ascribed to the See also:rebec, a bowed instrument of the early middle ages, with two or three strings stretched over a low bridge, and a See also:pear-shaped body pierced with sound-holes, having no See also:separate neck, but narrowed at the upper end to provide a finger-board, and (judging by pictorial representations, for no actual example is known) surmounted by a carved head holding the pegs, in a manner similar to that of the violin. The bow, which was short and clumsy, had a considerable curvature. So far it is justifiable to trace back the descent of the violin in a direct line; but the earlier ancestry of this family is largely a matter of speculation. The best authorities are agreed that stringed instruments in general are mainly of See also:Asiatic origin, and there is evidence of the mention of bowed instruments in See also:Sanskrit documents of great antiquity. Too much genealogical importance has been attached by some Writers to similarities in form and construction between the bowed and plucked instruments of See also:ancient times. They probably See also:developed to a great extent independently; and the bow is of too great and undoubted antiquity to be regarded as a development of the plectrum or other devices for agitating the plucked string. The two classes of instrument no doubt wereunder mutual obligations from time to time in their develop-. ment. Thus the stringing of the viols was partly adapted from that of the See also:lute; and the form of the modern See also:Spanish guitar was probably derived from that of the fidel. The Italian and Spanish forms (ribeba, rabe) of the See also:French name rebec suggest etymologically a relationship, which seems to find See also:confirmation in the striking similarity of general appearance between that instrument and the See also:Persian See also:rebab, mentioned in the 12th century, and used by the See also:Arabs in a See also:primitive form to this See also:day. The See also:British crwth, which has been claimed by some writers as a progenitor of the violin, was primarily a plucked instrument, and cannot be accepted as in the direct line of ancestry of the viols. The viol was made in three main kinds—discant, See also:tenor and bass—answering to the cantus, medius and See also:bassus of vocal music. Each of these three kinds admitted of some variation in dimensions, especially the bass, of which three distinct sizes ultimately came to be made—(t) the largest, called the See also:concert bass viol; (2) the division or See also:solo bass viol, usually known by its Italian name of viola da gamba; and (3) the See also:lyra or tablature bass viol. The normal tuning of the viols, as laid down in the earliest books, was adapted from the lute to the bass viol, and repeated in higher in- Distant Viol. Tenor Viol. Viol da Gamba. tervals in the rest. The (Bass viol.) See also:ea. fundamental See also:idea, as in the_ lute, was that the outermost -~ — strings should be two octaves apart—hence the intervals Ea- -ai __ — of fourths with a third in the middle. The highest, or discant viol, is not a See also:treble but an See also:alto instrument, the three viols answering to the three male Discard voices. As a treble instrument, not only viol. for See also:street via and See also:dance music, but in orchestras, the rebec or See also:geige did See also:duty until the invention of the violin, and long after-wards. The discant viol first became a real treble instrument in the hands of the French makers, who converted it into the quinton. The earliest use of the viols was to double the parts of vocal concerted music; they were next employed in special compositions for the viol trio written in the same compass. Develop-Many such works in the form of " fantasies " or ment of " fancies," and preludes with suites in dance form, by therms. the masters of the end of the 16th and 17th centuries, exist in See also:manuscript; a set by Orlando See also:Gibbons, which are good specimens, has been published by the See also:English Musical Antiquarian Society. Later, the viols, especially the bass, were employed as solo instruments, the methods of composition and execution being based on those of the lute. Most lute music is in fact equally adapted for the bass viol, and See also:vice versa. I:r the 17th century, when the violin was coming into general use, constructive innovations began which resulted in the See also:abandonment of the trio of pure six-stringed viols. Instruments which show these innovations are the quinton and the viola d'amore. The first-mentioned is of a type intermediate between the viol and the violin. In the See also:case of the discant and tenor viol the lowest string, which was probably found to be of little use, was abandoned, and the pressure on the bass side of the belly thus considerably lightened. The five strings were then spread out, as it were, to the compass of the six, so as to retain the fundamental principle of the See also:outer strings being two octaves apart. This was effected by tuning the lower half of the instrument in fifths, as in the violin, and the upper half in fourths. This innovation altered the Treble Quinton. TenTriQuinte nton,
tuning of the treble and tenor viols, othus—One half of the instrument
was therefore tuned like a viol, the a other half as in a violin, the middle
string forming the division. TheT tenor viol thus improved was called in See also:France the quinte, and the treble corresponding to it the quinton. From the numerous specimens which survive it must have been a popular instrument, as it is undoubtedly a substantially excellent one. The
See also:relief in the bass, and the additional pressure caused by the higher tuning in the treble, gave it greater brilliancy, without destroying the pure, ready and sympathetic tone which characterizes the viol. While the tendency in the case of the discant and tenor was to lighten and brighten them, the See also:reverse process took place in that of the bass. The richer and more sonorous tones of the viola da gamba were extended downwards by the addition of a string tuned to double bass A. Marais, a French virtuoso, is usually credited with this improvement; and this extended compass is recognized in the classical viola da gamba writings of See also:Sebastian See also:Bach and De Caix d'Hervelois. The result, however, was not universally satisfactory, for See also:Abel used the six-stringed instrument; and the seven strings never came into general use in See also:England, where the viola da gamba was more generally employed and survived longer than elsewhere.
The See also:chief defect of the viols was their weakness of tone; this the makers thought to remedy in two ways: first by additional strings in unisons, fifths and octaves; and secondly by sympathetic strings of fine See also:steel wire, laid under the finger-board as close as possible to the belly, and sounding in sympathy with the notes produced on the bowed strings. The sympathetic strings were attached to See also:ivory pegs driven into the bottom block, and, passing through the lower part of the bridge, or over a very low bridge of their own, were stretched to pitch either by means of additional pegs or by wrest pins driven into, the sides of the head, and tuned with a See also: Later on a See also:chromatic set of twelve was employed, and occasionally viols were made with twenty-four wire strings, two for each semitone in the scale. This system of reinforcement was applied to all the various sizes of viols in use during that period.
The improvements which resulted in the production of the violin proceeded on different lines. They consisted in increasing the resonance of the body of the instrument, by making it lighter and more symmetrical, and by stringing it more lightly. These changes transformed the body of the viol into that of the violin, and the transformation was completed by rejecting the lute tuning with its many strings, and tuning the instrument by fifths, as the fiddle had been tuned. The tenor viol appears to have been the first instrument in which the See also:change was made, and thus the viola or tenor may probably be claimed as the See also:father of the modern violin family. Violas were used in See also: The celebrated double bass player, See also:Dragonetti, occasionally used the basso da camera, and an English player named See also:Hancock, who dispensed with the highest or E string, is still remembered for his performances on this unusual instrument. The tenor and violoncello are made on the same general model and principles as the violin, but with modifications. Tenor Both are, relatively to their pitch, made in smaller pro-violin and portions than the violin, because, if they were con- structed to dimensions having the same relation to Le~Oi pitch and tension of strings as the violin, they would not only have an overpowering tone but would be unmanageablefrom their size. These relatively diminished dimensions, both in the size of the instrument and in the thickness of the wood and strings, give to the tenor and violoncello a graver and more sympathetic tone. To some extent the reduced size is compensated by giving them a greater proportional height in the ribs and bridge; an increase hardly perceptible in the tenor, but very noticeable in the violoncello. To lighten the tension and thus allow greater freedom of vibration to the belly on the bass side, as with the lowest string of the violin, the two lowest of the. tenor and violoncello are made of thin gut, covered with fine See also:metal wire; thus providing the necessary weight without inconvenient thickness. If the tension of the lowest string, or the two lowest strings, be increased, not only will they be elevated in pitch, but the violin will Scoraatar~. produce a more powerful tone; if the bass string be lowered, the contrary will take place. By adapting the music to this altered tuning (scordatura) some novel effects are produced. The following are the principal scordature which have been occasionally employed by various players: De B@See also:riot, De See also:Beriot. See also:Paganini. Baillot. See also:Prune. Mazas, &c. The violoncello is less amenable to the scordatura than the violin; the only classical instance is the tuning employed by Bach in his fifth See also:sonata,_ which consists in lowering the first string by a tone. Bach. The early Italian school is chiefly represented by the Brescian makers, Gaspar da Salo, Giovanni See also:Paolo Maggini, Giovita Rodiani and Zanetto Peregrino. It is, however, Ga& somewhat misleading to denominate it the Brescian Italian school, for its characteristics are shared by the earliest makes• makers of Cremona and See also:Venice. To eyes familiar with the geometrical curves of the later Cremona school, most of the violins of these makers have a See also:rude and uncouth appearance. The height of the model varies; the pattern is attenuated; the f-holes share the general rudeness of design, and are set high in the pattern. Andreas See also:Amati of Cremona, the eldest maker of that name, effected some improvements on this primitive model; but the violin owes most to his sons, See also:Antonio and Geronimo, who were partners. They introduced the substantial improvements which developed the Brescian violin into the modern instrument. These improvements were in their inception probably of an See also:artistic rather than a scientific nature. See also:Painting and See also:inlaying had long been employed in the decoration of stringed instruments; but the See also:brothers Amati were the first who applied to the violin the fundamental See also:law of decorative art, that the decorative and constructive elements should be blended in their conception: in other words, the construction should be itself decorative and the decoration itself constructive. See also:Nicholas Amati (1596-1684), son of Geronimo, made some slight improvements in the model, and his See also:pupil Antonio Stradivari (1644-1737) finally settled the typical Cremona pattern, which has been generally followed; for the See also:majority of .violins since made, whether by good or See also:bad makers, are copies of Stradivari. Besides the last-named, the following makers worked generally on the Amati model—Cappa, Gobetti, the Grancino family, Andreas See also:Guarnieri and his son Giuseppe, the Ruggieri family and Serafin of Venice. The Bergonzi family, Alessandro Gagliano, the earlier members of the Guadagnini family, and Panormo were either pupils or followers of Stradivari. But excepting Carlo Bergonzi and Stradivari's two sons, Omobono and See also:Francesco, there is no evidence of
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See also:Tartini, Castrucci. (Scotch Reels.)
al--_NM_
Lolli.
Giber.
I Nardini.
any having actually worked with or for him. Landolfi, Storioni, and Carlo Giuseppe Testore, a pupil of Giovanni Grancino, leaned to the model of Giuseppe Guarnieri del Gesu. Some resemblances, especially in the matter of the varnish, are traceable between the works of makers who lived contemporaneously in the same See also:town, e.g. in See also:Naples, See also:Milan and Venice.
A high model was adopted by See also:Jacob Stainer of Absam, near See also: The school of Stainer is represented by makers. See also:Albani, Hornsteiner, the See also:Klotz family (who made large
See also:numbers of instruments excellent in their See also:kind), Schorn of See also:Salzburg and Withalm of See also:Nuremberg, and others. The English makers may be divided into three successive See also:groups: (I) an See also:antique English school, having a character of its own (Rayman, See also:Urquhart, Pamphilon, Barak See also:Norman, See also:Duke, of See also:Oxford, &c.); (2) imitators of Stainer, at the head of whom stands See also:Peter Wamsley (See also: Stainer in Tirol inclined particularly in the direction of this model, which he appears to have developed on See also:independent lines, the tradition that he learnt his craft from the Amati being no longer tenable. The flatter model was gradually evolved by Stradivari as he outgrew the immediate influence of the Amati and developed on his own incomparable lines a somewhat larger and more powerful instrument, adapted to the requirements of the increasing class of solo players. The violins as a distinctive family of instruments cannotbe fully discussed without reference to the bow (q.v.) as an essential adjunct, on account of the very important The how. part taken by the bow in determining, as 'already mentioned, the peculiar form of the vibrations of the string, and in controlling, in the hand of a skilled player, the subtle gradations of tone produced from the instrument. The See also:evolution of the modern bow has taken place almost entirely since the violin attained its final form, and has followed, more completely perhaps than the instrument itself, the development of violin music and the requirements of the player. It reached its highest perfection at the hands of the celebrated See also:Francois Tourte of See also:Paris, about 178o, whose bows have served as a model for all succeeding makers, even more exclusively than the violins of Stradivari controlled the pattern of later instruments; and at the present time Tourte bows are valued beyond any others. For more than 250 years the violin and its larger brethren have held the leading position among musical instruments. For them have been written some of the most inspired works of the great musicians. Famous composers, such as Tartini, See also:Corelli, See also:Spohr and See also:Viotti have been great violinists, and by their compositions, as much as by their talents as virtuosi, have largely developed the capacity of the violin as a vehicle of profound musical expression. To the listener the violin speaks with an intensity, a sympathy, and evokes a thrill of the senses such as no other instrument can produce. For the player it seems to respond to every See also:pulse of his emotions. G. See also:Hart, The Violin (See also:London, 1875) ; Hill, Antonio Stradivari (London, 1902) ; Sir W. Huggins, " On the Function of the Sound-Post, &c., of the Violin," Proc. Royal Society, vol. See also:xxxv. p. 241; H. See also:Helmholtz, On the Sensations of Tone, &c. (trans. by A. J. See also:Ellis) ; E. H. See also:Barton and C. A. B. See also:Garrett, "Vibration Curves obtained from a Monochord Sound Box and String," Philosophical Mag. (Jul 1905) ; Carl See also:Engel, Musical Instruments (London, 1875) ; A. J. Hipkins. Musical Instruments, Historic, Rare and Unique (Edinburgh, 1887). (R. W. F. Additional information and CommentsThere are no comments yet for this article.
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