- Violin construction and mechanics
violinconsists of a body or corpus, a neck, a bridge, a soundpost, four strings, and various fittings. The fittings are the tuning pegs, tailpieceand tailgut, endpin, possibly one or more fine tuners on the tailpiece, and perhaps a chinrest, either attached directly over the tailpiece or to the left of it.
The body of the violin is made of two arched plates fastened to a "garland" of ribs with animal hide glue. The rib garland includes a top block, four corner blocks (sometimes omitted in cheap mass-produced instruments,) a bottom block, and narrow strips called linings, which help solidify the curves of the ribs, and provide extra gluing surface for the plates. The ribs are what is commonly seen as the "sides" of the box. From the top or back, the body shows an "hourglass" shape formed by an upper bout and a lower bout. Two concave C-bouts between each side's corners form the waist of this figure, providing clearance for the bow.
The best woods, especially for the plates, have been seasoned for many years in large wedges, and the seasoning process continues indefinitely after the violin has been made. Glue joints of the instrument are held with
hide glue, since other adhesives can be difficult or impossible to reverse when future repairs are in order. Parts attached with hide glue can be separated when needed by using heat and moisture, or by careful prying with a thin knife blade. A well-tended violin can outlive many generations of players, so it is wise to take a curatorial view when caring for a violin.
Typically the top (the instrument's soundboard) is made of quarter-sawn
spruce, bookmatchedat a strongly glued joint down the center, with two sound-holes (or "f-holes", from their resemblance to a stylized letter ""f"") precisely placed between the C-bouts and lower corners. The sound-holes affect the flex patterns of the top, or table, and less importantly, allow the box to breathe as it vibrates. A decorative inlaid set of three narrow wooden strips, usually a light-colored strip surrounded by two dark strips, called purfling, runs around the edge of the top, and is said to give some resistance to cracks originating at the edge. It is also claimed to allow the top to flex more independently of the rib structure. Some instruments have two lines of purfling, or have knot-work type ornaments inlaid in the back. Painted-on fauxpurfling on the top is usually a sign of an inferior instrument. A quarter-sawn bass bar fitted inside the top, running lengthwise under the bass foot of the bridge, gives added mass and rigidity to the top plate. Some cheaper mass-produced violins have an integral bass bar, carved from the same piece as the top, but this has the growth ringsrunning at right angles to the optimal orientation. Ideally the top is glued to the ribs and linings with slightly diluted hide glue, to allow future removal with minimal damage.
Back and ribs
The back and ribs are typically made of
maple, most often with a matching striped figure, called "flame." Backs may be one-piece slab-cut or quarter-sawn, or bookmatched two-piece quarter-sawn. Backs are also purfled, but in their case the purfling is less structurally important than for the top. Some fine old violins have scribed or painted rather than inlaid purfling on the back. The small semicircular extension of the back known as the "button" provides extra gluing surface for the crucial neck joint, and is neglected when measuring the length of the back. Occasionally a half-circle of ebonysurrounds the button, either to restore material lost in resetting the neck of an old instrument, or to imitate that effect.
The ribs, having been bent to shape by heat, have their curved shape somewhat reinforced by lining strips of other wood at the top and bottom edges. The linings also provide additional gluing surface for the seams between the plates (top and bottom) and the rib edges.
The neck is usually maple with a flamed figure compatible with that of the ribs and back. It carries the
fingerboard, typically made of ebony, but often some other wood stained or painted black. Ebony is considered the preferred material because of its hardness, beauty, and superior resistance to wear. Some very old violins were made with maple fingerboards, carrying a veneer of ebony. At the peg end of the fingerboard sits a small ebony or ivory nut, infrequently called the upper saddle, with grooves to position the strings as they lead into the pegbox. The scroll at the end of the pegbox provides essential mass to tune the fundamental body resonanceof the instrument, and provides a convenient grip for spare fingers to brace against when tuning one-handed, with the violin on the shoulder. Some "scrolls" are carved representations of animal or human heads, instead of the classical spiral volutemost normally seen.
The maple neck alone is not strong enough to support the tension of the strings without distorting, relying for that strength on its lamination with the fingerboard. For this reason, if a fingerboard comes loose (it happens) it is vital to slacken the strings immediately. The shape of the neck and fingerboard affect how easily the violin may be played. Fingerboards are dressed to a particular
transversecurve, and have a small lengthwise "scoop", or concavity, slightly more pronounced on the lower strings, especially when meant for gut or synthetic strings. The neck itself is not varnished, but is polished and perhaps lightly sealed, to allow ease and rapidity of shifting between positions.
Some old violins (and some made to appear old) have a grafted scroll, or a seam between the pegbox and neck itself. Many authentic old instruments have had their necks reset to a slightly increased angle, and lengthened by about a centimeter. The neck graft allows the original scroll to be kept with a
Baroqueviolin when bringing its neck to conformance with modern standard.
The bridge is a precisely cut piece of maple, preferably with prominent
medullaryrays, showing a flecked figure. The bridge forms the lower anchor point of the vibrating length of the strings, and transmits the vibration of the strings to the body of the instrument. Its top curve holds the strings at the proper height from the fingerboard, permitting each to be played separately by the bow. The mass distribution and flex of the bridge, acting as a mechanical acoustic filter, have a prominent effect on the sound.
Tuning the violin can cause the bridge to lean, usually toward the fingerboard as the tightening of the strings pulls it. If left that way, it may warp. Experienced violinists know how to straighten and center a bridge.
sound post, or "soul post", fits precisely between the back and top, just to the tailward side of the treblebridge foot. Part of adjusting the tone of the instrument is moving the sound post by small amounts, both laterally and along the long axis of the instrument, using a tool called a sound post setter. Since the sound post is not glued and is held in place by string tension and by being gently wedged between the top and back, it may fall over if all the strings are slackened at once.
tailpiecemay be wood, metal, or plastic, and anchors the strings to the lower bout of the violin by means of the tailgut, nowadays most often a loop of stout nylon monofilament which rides over the lower saddle, a block of ebony set into the edge of the top, and goes around the endpin. The endpin fits into a tapered hole in the bottom block. Most often the material of the endpin is chosen to match the other fittings, for example, ebony, rosewood or boxwood. Very often the E string will have a fine tuning lever worked by a small screw turned by the fingers. Fine tuners may also be applied to the other strings, and are sometimes built in to the tailpiece.
At the scroll end, the strings ride over the nut into the pegbox, where they wind around the
tuning pegs. Strings usually have a colored "silk" wrapping at both ends, for identification and to provide friction against the pegs. The peg shafts are shaved to a standard taper, their pegbox holes being reamed to the same taper, allowing the friction to be increased or decreased by the player applying appropriate pressure along the axis of the peg while turning it. Various brands of peg compound or peg dopehelp keep the pegs from sticking or slipping. Peg drops are marketed for slipping pegs. Pegs may be made of ebony, rosewood, boxwood, or other woods, either for reasons of economy or to minimize wear on the peg holes by using a softer wood for the pegs.
The bow consists of a stick with a ribbon of
horsehairstrung between the tip and frog (or nut, or heel) at opposite ends. At the frog end, a screw adjuster tightens or loosens the hair. The frog may be decorated with two eyes made of shell, with or without surrounding metal rings. A flat slide usually made of ebony and shell covers the mortisewhere the hair is held by its wedge. A metal ferruleholds the hair-spreading wedge and the shell slide in place. Just forward of the frog, a leather grip or thumb cushion protects the stick and provides grip for the player's hand. Forward of the leather, a winding serves a similar purpose, as well as affecting the balance of the bow. The winding may be wire, silk, or whalebone (now imitated by alternating strips of yellow and black plastic.) Some student bows (particularly the ones made of solid fiberglass) substitute a plastic sleeve for grip and winding.
The hair of the bow traditionally comes from the tail of a white male
horse, although some cheaper bows use synthetic fiber. The hair must be rubbed with rosinoccasionally so that it will grip the strings and cause them to vibrate. The stick is traditionally made of pernambucoor the less expensive brazilwood, although some student bows are made of fiberglass. Recent innovations have allowed carbon-fiberto be used as a material for the stick at all levels of craftsmanship.
Strings were first made of sheep's
intestines(called " catgut"), stretched, dried and twisted. Contrary to popular belief, violin strings were never made of actual cat's intestines. Plain gut strings are used in both modern and "period" music though in recent years the "baroque" historically accurate performances players seem to use them more often than those musicians who play later period music or play baroque music in a "modern" style. Gut strings are made by a number of specialty string makers as well as some large stringmaking companies.
In the 19th century (and even earlier though not yet prevalent) metal windings were developed for the lower-pitched gut strings. Wound strings avoid the flabby sound of a light-gauge string at low tension. Heavier plain-gut strings at a suitable tension are inconvenient to play and difficult to fit into the pegbox.
There are many claims made that gut strings are difficult to keep in tune. In fact for those who actually have experience with them, plain gut strings are quite stable from a tuning standpoint. Wound gut do have more instability of tuning due to the different response to moisture and heat between the winding and the core, and from string to string. Some players use olive oil on gut strings to extend their playing life, and improve tuning stability by reducing the strings' sensitivity to humidity. Gut strings tend to hold their sound quality nicely right up until they fail, or become excessively worn.
Modern strings are most commonly either a stranded synthetic core wound with various metals, or a steel core, which may be solid or stranded, often wound with various other metals. With low-density cores such as gut or synthetic fiber, the winding allows a string to be thin enough to play, while sounding the desired pitch at an appropriate tension. The winding of steel strings affects their flexibility and surface properties, as well as mass. Strings may be wound with several layers, in part to control the damping of vibrations, and influence the "warmth" or "brightness" of the string by manipulating the strength of its
The core may be synthetic filaments, solid metal, or braided or twisted steel filaments. The uppermost E string is usually solid steel, either plain or wound with aluminium in an effort to prevent "whistling." Gold plating delays corrosion of the steel and may also reduce whistling.
Stainless steelgives a slightly different tone. Synthetic-core strings, the most popular of which is Perlon (a trade name for stranded nylon) combine some of the tonal qualities of gut strings with greater longevity and tuning stability. They are also much less sensitive to changes in humiditythan gut strings, and less sensitive to changes in temperaturethan all-metal strings. Solid-core metal strings are stiff when newly replaced, and tend to go out of tune quickly.
While some gut strings still use a knot to secure the tail end in the slot of the tailpiece, most modern strings use a "ball", a small bead often made of bronze, for that purpose. A frequent exception is the E string, which may be had with either a ball or loop end, since the smallest E-string fine tuners hold the tail of the string on a single small hook.
The price of different string types varies dramatically; gut and gut-core strings are typically the most expensive, followed by leading synthetic core brands, and student steel strings at the lowest price range. Natural gut strings (without the metal windings) are quite inexpensive, especially for the e and a strings. The longevity of strings (all types) is highly variable and is influenced by style of play, chemistry of perspiration and its interaction with the string material, presence of fingernails, frequency of play etc. Some players have trouble with certain brands of strings, or one particular string (say an "a" string of brand xyz) but not with others.
The character of the sound produced by the strings can be adjusted quite markedly through the selection of different types of strings. The most noticeable divisions of sound quality for violins is steel, artificial gut ("perlon" core etc), wound gut, and plain gut. The wound gut tend to have a mellow sound, as do many of the artificial strings, though other artificial core strings are specifically designed to be "bright". Steel and plain gut are both rather bright (full of overtones) but in distinctly different ways: you can tell the difference and yet each are more lively or bright typically than the wound soft-core and wound-gut strings. Certain styles of music have come to be played with certain types of strings, yet there is no hard and fast rule in this respect as each musician is looking for his or her sound. (Country fiddling is often on steel or all-metal; orchestral is often wound (gut or artificial) with a steel e; soloists are often like the orchestra; baroque or early music may be played rather more than romantic pieces, on plain gut.)
It has been known for a long time that the shape, or arching, as well as the thickness of the wood and its physical qualities govern the sound of a violin. The sound and tone of the violin is determined by how the belly and back plates of the violin behave acoustically, according to modes or schemes of movement determined by German physicist
Ernst Chladni. Patterns of the nodes (places of no movement) made by sand or glitter sprinkled on the plates with the plate vibrated at certain frequencies are called "Chladni patterns", and are occasionally used by luthiers to verify their work before assembling the instrument. A [http://www.phys.unsw.edu.au/~jw/chladni.html scientific explanation] includes a discussion of how the properties of the wood determines where the nodes occur, whether the plates move with end or diagonally opposite points rising together or in various mixed modes.
Children learning the violin often use fractional sized violins, 3/4, 1/2, 1/4, 1/8, 1/10, and 1/16. Occasionally, even a 1/32 sized instrument is used.
The body length (not including the neck) of a 'full-size' or 4/4 violin is about 14 inches (or smaller in some models of the 17th century). A 3/4 violin is 13 inches, and a 1/2 size is 12 inches. Rarely, one finds a size referred to as 7/8 which is approximately 13.5 inches, sometimes called a "ladies' fiddle."
Violasize is specified as body length in inches rather than fractional sizes. A 'full-size' viola averages 16 inches, but may range as long as 18 or 20 inches. Such extremely long instruments may be humorously referred to as "chin cellos."
* [http://www.phys.unsw.edu.au/~jw/graphics/violin.jpgAnatomy of a violin]
* [http://www.violinbridges.co.uk Violinbridges - Online archive of bridges of the violin family by Gerard KilBride & Mick Quinn.]
* [http://www.theviolinsite.com/violin_making Violin Making] - virtual tour of a violin shop
* [http://www.schleske.de Wire-frame vibration mode animation] (Click the "animation" button on Martin Schleske's home page.)
* [http://www.rocheviolins.com/html/violin_wood_types.html Wood types used in violins]
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