![]() A recent Violone commissioned by the Early Music Department of McGill University presented a unique challenge as the performance needs for that instrument required the lower, Bb string to possess agile, expressive qualites with a string legnth of 80cm. Other tunings, including the standard cello C-G-d-a, may also be used, depending on the acoustic and technical needs of each particular repertoire and situation. Michael Praetorius, in Syntagma Musicum supplies the tuning for bass violins at the common tuning of violoncello C-G-D-A, however other sources such as Mersenne provide the possibility of a lower pitch at Bb-F-C-g, which is a whole tone below the cello and goes in accordance with the information gathered about the basses used in the Lullian orchestra, from Georg Muffat and other sources.The deepest of these can measure around 4mm thick in gauge if we assume that equal tension across the strings does in fact produce equal feel if the twisting increases progressively the thicker the string is. Recent violas with all-gut, late Renaissance setup made in the Vienna workshop have been wonderfully resonant instruments. The gauge of these strings tend often to be very thick, requiring a different bowing technique and experience. These are most often designed upon Venetian pitch and for violin and viola, and can be thus higher at A440 -A465. Late renaissance, in which all gut and equal tension strings are employed. It may seem odd to design a instrument based upon the characteristics of the strings, however it is crucial to understand that the tension, composition, and pitch of strings directly effect how I will go about creating the arching, plate graduation, and even choice of materials and outline. I generally divide my instruments into four categories based upon the target period, and thus the strings are the primary factor for every aspect of the instrument. A profound difference in sound and timbre of tone can be achieved by having a clear vision in mind of what is desired tonally, and moving forward from the first stages of choosing tone wood, down to final setup. Developments in both string technology and tension/setup relation of historical instruments are the first and primary considerations when choosing a target period for an instrument. While more research on historical instruments, iconography in baroque paintings, and contemporary texts can illuminate more clearly how instruments in the baroque and renaissance were constructed and used for performance, the fact remains that an attempt to conceive a sense of setup, sound, and historical performance is an evolving process. ![]() What makes the perfect Baroque Instrument? Attempts to divine a clear conception of authentic tone for musical instruments will seemingly always remain subjective. Working this way provides a unique advantage to serve the musician and deliver an instrument which exactly matches their tonal requirements. Part of the excitement of making baroque and period instruments is that the arching height, outline, and shape deliver wide variances of tone, and are hence more multifarious and filled with endless possibilities. This is as every single piece of tone wood possesses wonderfully different qualities, and to slavishly copy a famous instrument from technical plans often results in something which is lackluster in both visual and tonal appeal. I do not use arching templates, or drill depths from predetermined technical plans. As you may have already noticed, all my instruments are hand crafted, personal models based upon Venetian, or other schools of lutherie. In every instrument, I am still making explorations in sound. The development of a general focus or direction of a baroque luthier making period instruments and the resulting workshop philosophy is an evolving, gradual process,one which which is never fully completed. Historical strings for musical instruments differ in composition and determine the final sound.
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