The body of the violin has a specific round shape. In contrast to the classic case shape, the trapezoidal parallelogram shape is mathematically optimal with rounded recesses on the sides forming the “waist”. The roundness of the external contours and waist lines ensures comfortable play, particularly in high positions. The lower and upper planes of the body - the deck - are connected to each other by strips of wood - shells. They have a convex shape, forming “arches”. The geometry of the vaults, as well as their thickness and its distribution, to one degree or another, determine the strength and timbre of the sound. A damper is placed inside the case, transmitting vibrations from the stand - through the upper deck - to the lower deck. Without it, the violin's timbre loses its liveliness and fullness.
The strength and timbre of a violin's sound is greatly influenced by the material from which it is made, and, to a lesser extent, by the composition of the varnish. There is a known experiment with the complete chemical removal of varnish from a Stradivarius violin, after which its sound did not change. The varnish protects the violin from changes in the quality of the wood under the influence environment and colors the violin transparent color from light golden to dark red or brown.
Lower deck ( musical term) made from solid maple wood (other hardwoods), or from two symmetrical halves.
Top deck made from resonant spruce. Has two resonator holes - f-holes(in shape they resemble the Latin letter f). A stand rests on the middle of the top soundboard, on which the strings, attached to the tailpiece (underneck), rest. Under the foot of the stand on the side of the Sol string, a single spring is attached to the upper soundboard - a longitudinally located wooden plank, which largely ensures the strength of the upper soundboard and its resonant properties.
Shells They combine the lower and upper soundboards to form the side surface of the violin body. Their height determines the volume and timbre of the violin, fundamentally influencing the sound quality: the higher the shells, the duller and softer the sound, the lower the shells, the more piercing and transparent the upper notes. The shells, like the soundboards, are made from maple wood.
Darling- a round spruce wood spacer that mechanically connects the soundboards and transfers string tension and high-frequency vibrations to the lower soundboard. Its ideal location is determined experimentally; as a rule, the end of the choker is located under the foot of the stand on the side of the E string, or next to it. The earpiece can only be rearranged by the master, since its slightest movement significantly affects the sound of the instrument.
Underneck, or tailpiece, serves for fastening strings. Previously made from hard ebony or mahogany (usually ebony or rosewood, respectively). Nowadays it is often made from plastics or light alloys. On one side of the neck there is a loop, on the other there are four holes with slots for attaching strings. The end of the string with the button (E and A) is threaded into the round hole, after which, by pulling the string towards the fingerboard, it is pressed into the slot. D and G strings are often secured in the neck with a loop going through the hole. Nowadays, lever-screw machines are often installed in the holes of the neck, making adjustments much easier. Arms made of light alloys with structurally integrated machines are produced commercially.
A loop made of thick string or steel wire. When replacing a vein loop with a larger diameter than 2.2 mm with a synthetic one (diameter 2.2 mm), it is necessary to wedge the wedge and re-drill a hole with a diameter of 2.2, otherwise the point pressure of the synthetic string may damage the wooden neck.
Button- the head of a wooden peg, inserted into the hole in the body, located on the side opposite the fingerboard, serves to attach the underneck. The wedge is inserted into a conical hole corresponding to its size and shape, completely and tightly, otherwise the wedge and shell may crack. The load on the button is very high, about 24 kg.
Standaffects the timbre of the instrument. It has been experimentally established that even a small shift of the stand leads to a significant change in the tuning of the instrument due to a change in the scale length and to a slight change in timbre - when moving towards the neck, the sound is duller, while from there it is brighter. The bridge raises the strings above the top by different heights in order to be able to play each of them with a bow, it distributes them at a greater distance from one another on an arc of a larger radius than the top bridge.
Vulture
Neck (detail musical instrument) violins - a long board made of solid hard wood (black ebony or rosewood), curved in cross-section so that when playing on one string the bow does not catch adjacent strings. The lower part of the neck is glued to the neck, which goes into the head, consisting of a peg box and a curl.
Threshold- an ebony plate located between the fingerboard and the head, with slots for strings. The slots in the nut distribute the strings evenly apart and provide clearance between the strings and the fingerboard.
Neck- a semicircular part, which the performer grasps with his hand while playing, structurally unites the violin body, neck and head. Vulture With threshold attached to the neck from above.
Pegs box- part of the neck in which a slot is made at the front, two pairs are inserted on both sides pegs, with the help of which the strings are tuned. Pegs are conical rods. The rod is inserted into the conical hole in the peg box and adjusted to it - failure to comply with this condition can lead to destruction of the structure. For tighter or smoother rotation, the pegs are respectively slightly pressed or pulled out of the box when rotating, and for smooth rotation they must be lubricated with lapping paste (or chalk and soap). The pegs should not protrude too much from the peg box. The pegs are usually made of ebony and are often decorated with mother-of-pearl or metal (silver, gold) inlay.
Curl has always served as something like a brand mark - evidence of the taste and skill of the creator. Initially, the curl rather resembled a woman’s foot in a shoe, but over time the similarity became less and less - only the “heel” was recognizable, the “toe” changed beyond recognition. Some masters replaced the curl with a sculpture, like that of a viol - a carved lion's head, for example, as did Giovanni Paolo Magini (1580-1632). 19th-century masters, lengthening the neck of ancient violins, sought to preserve the head and scroll as a privileged “birth certificate.”
Strings
The strings pass from the neck, through the bridge, over the surface of the neck, and through the nut to the pegs, which are wound around them in the head.
The violin has four strings:
- first(“fifth”) - upper, tuned to E of the second octave. The solid metal E string has a ringing, brilliant timbre.
- second- tuned to A of the first octave. The vein (intestinal or made from a special alloy) solid “A” has a soft, matte timbre.
- third- tuned to D of the first octave. The vein (intestinal or artificial fiber) “D”, entwined with aluminum thread, has a soft, matte timbre.
- fourth(“bass”) - lower, tuned to G of a small octave. Vein (intestinal or artificial fiber) “salt”, entwined with silver thread, a harsh and thick timbre.
Accessories and Accessories
The bow is an accessory for continuous sound production. The basis of the bow is a wooden cane, which passes into the head on one side, and a block is attached on the other. The hair from the ponytail is stretched between the head and the block. The hair has keratin scales, between which, when rubbed, rosin is impregnated, which allows the hair to catch the string and produce sound.
Chin pad. Designed to make it easier to hold the violin under your chin. Side, middle and intermediate positions are selected according to the violinist's ergonomic preferences.
Bridge. Designed for easy placement of the violin on the collarbone. Attached from the bottom deck. It is a plate, straight or curved, hard or covered with a soft material, wooden, metal or plastic, with fastenings on both sides. The necessary electronics, for example, a microphone with an amplifier, are often hidden in a metal structure. The main brands of modern bridges are WOLF, KUN, etc.
Sound pickup devices. Required to convert the mechanical vibrations of the violin into electrical ones (for recording, amplifying or converting the sound of the violin using special devices).
- If the sound of a violin is formed due to the acoustic properties of the elements of its body, the violin is acoustic.
- If the sound is generated by electronic and electromechanical components, it is an electric violin.
- If the sound is produced by both components to a comparable degree, it is a semi-acoustic violin.
Case (or trunk for violin and bow and additional accessories.
The mute is a small wooden or rubber “comb” with two or three teeth with a longitudinal slot. It is placed on top of the stand and reduces its vibration, making the sound muffled and “wearable”. The mute is most often used in orchestral and ensemble music.
"Jammer"- a heavy rubber or metal mute, used for home exercises, as well as for exercises in places that do not tolerate noise. When using a jammer, the instrument practically stops sounding and emits barely audible pitch tones that are sufficient for the performer to perceive and control.
Typewriter- a metal device consisting of a screw inserted into the hole in the neck, and a lever with a hook that serves to fasten the string, located on the other side. The machine allows for finer adjustments, which is most critical for monometallic strings with low stretch. There is a specific machine size for each violin size; there are also universal ones. Typically available in black, gold-plated, nickel-plated or chrome-plated, or a combination of finishes. There are models specifically for gut strings, for the E string. The instrument may not have machines at all: in this case, the strings are inserted into the holes in the neck. It is possible to install machines not on all strings. Usually in this case the machine is placed on the first string.
A report on the violin for children grade 5 will briefly tell you a lot useful information about this folk musical instrument.
Message about the violin
Violin- a high-register stringed musical instrument. Has a folk origin modern look acquired in the 16th century and became widespread in the 17th century.
The violin is an exquisite and sophisticated musical instrument. It is not for nothing that she was given the role of queen of the orchestra.
History of the violin for children
Violin folk origin: its ancestors were the Spanish fidel , Arab Rebab and German Rota . The fusion of these instruments led to the appearance of the violin.
In the middle of the 16th century, the modern violin design developed in northern Italy. Until the beginning of the 17th century, violin making was carried out by the Amati family in Italy. The instruments were distinguished by excellent material and excellent shape. In general, Italy has firmly taken a leading position in the production of violins High Quality. At one time, they were engaged in by Guarneri and Stradivari, whose instruments are today valued at the highest level.
It became a solo instrument in the 17th century. The first works written for her were “Romanesca per violino solo e basso” (Marini from Brescia 1620) and “Capriccio stravagante” (Farin). Founder art game the queen of the orchestra was A. Corelli, then Torelli, Tartini, Pietro Locatelli.
Description of the violin
The instrument has 4 strings, which are tuned in fifths - G of the small octave, D, A of the first octave, E of the second octave, respectively. It consists of the following parts:
- Frame. It is oval in shape with rounded notches on the sides, forming the so-called “waist” of the violin. This roundness ensures comfortable playing. The lower and upper parts of the body (deck) are connected by shells. The lower part is made of maple, and the upper part is made of Tyrolean spruce. The top deck has 2 resonator holes (f-holes), which affect the sound timbre. In the middle of the upper part there is a stand with strings mounted on a tailpiece made of a strip of ebony. It expands in the direction where the strings are attached. Inside the resonant spruce body there is a round pin inserted, a darling. It provides resonance for sound vibrations.
- Grif. This is a long piece of ebony or plastic. Its lower part is attached to a polished and rounded bar - the neck.
The composition of the varnish with which it is coated and the material of manufacture also influence the sound of the instrument.
The sound of a violin
The violin produces an elegant and assertive sound. The timbre of the sound depends on the quality of the instrument, the choice of strings and the skill of the performer. Bass strings produce a rich, thick, harsh and austere sound. The middle strings sound soulful, soft, velvety. The upper register of the strings sounds sunny, ringing and bright. The performer of the works can modify the sounds, introducing his own palette of sounds.
- In 2003, Athira Krishna from India entered the Guinness Book of Records by playing the violin continuously for 32 hours.
- Playing an instrument burns 170 calories per hour.
- Until 1750, strings were made from sheep intestines.
- The tool stimulates the brain.
- The smallest violin in the world, 1 cm long, was created in the city of Guangzhou (southern China).
We hope that the report on violin for children helped you prepare for the lesson and you learned a lot interesting facts about her. And your short story You can leave your comments about the violin using the comment form below.
The violin is one of the most common stringed musical instruments. It has been popular for a long time - since the 16th century. Violinists play solo on it and accompany in ensembles. This instrument is called the queen of the orchestra.
The exact place and time of origin of the violin could not be established. There have been many speculations about what stringed instruments were like before the modern violin. It is assumed that the ancestors of the violin and viol were rebab, rota, fidel, which appeared in the 13th-15th centuries. The viola arose before the violin. It varied in size. To perform any piece on the viol, the musician had to stand. When performing, the viola was held on the knees, and later on the shoulders, which led to the appearance of the violin.
Initially they did not play solos on the violin, because this instrument was considered common. It was used only among traveling musicians in beer establishments.
A significant transformation of the violin took place in the 16th century, thanks to Italian craftsmen who made the musical instrument with an ideal shape and from the best materials. The author of the first modern violin is Gasparo Bertolotti. Members of the Amati family made a great contribution to the production of violins in Italy, who worked on the timbre of the instrument. They were the ones who made it deep and voluminous. According to their idea, the violin should convey feelings and emotions, its sound should resemble a human voice. The idea was a success.
The violin has a wide range and beautiful sound. This allows composers to create works of different genres for the violin. There are many masterpieces where the leading part belongs to the violin.
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The violin is the most common bowed instrument, enjoying incredible popularity since the 16th century as a solo and accompanying instrument in an orchestra. The violin is also called the “queen of the orchestra.”
Origin of the violin
Disputes about when and where this legendary musical instrument appeared continue to this day. Some historians suggest that the bow appeared in India, from where it came to the Arabs and Persians, and from them it passed to Europe. During musical evolution there were many different versions of bowed instruments that influenced the modern appearance of the violin. Among them are the Arab rebab, the German company and the Spanish fidel, the birth of which occurred in the 13th-15th centuries. It was these instruments that became the progenitors of the two main bowed instruments - the viol and the violin. Viola appeared earlier, she was different sizes, they played it standing, holding it on their knees, and later on their shoulders. This type of viol playing led to the appearance of the violin.
Rebab
Some sources indicate the origin of the violin from the Polish instrument skripitsa or from the Russian skripli, the appearance of which dates back to the 15th century. For a long time The violin was considered a common instrument and did not sound solo. It was played by wandering musicians, and the main place for its sound was taverns and taverns.
Violin transformation
In the 16th century, Italian craftsmen who were engaged in the production of viols and lutes began making violins. They clothed the instrument in an ideal shape and filled the best materials. Gasparo Bertolotti is considered the first master to make the first modern violin. The main contribution to the transformation and production of Italian violins was made by the Amati family. They made the timbre of the violin sound deeper and more delicate, and the character of the sound more multifaceted. They accomplished the main task that the masters set for themselves excellently - the violin, like the human voice, had to accurately convey emotions and feelings through music. A little later, there in Italy, they worked all over the world to improve the sound of the violin. famous masters Guarneri and Stradivari, whose instruments today are valued at entire fortunes.
Stradivarius
In the 17th century the violin became solo member orchestral composition. In a modern orchestra, there are about 30% of violinists from total number musicians. The range and beauty of the sound of a musical instrument is so wide that works of all genres of music are written for the violin. The world's great composers wrote many unsurpassed masterpieces, where the main solo instrument was the violin. The first work for violin was written in 1620 by the composer Marini and was called “Romanesca per violino solo e basso”.
History of the violin
"And since then everyone knows about the violin family,
and it is unnecessary to say or write anything about it."
M. Pretorius.
Before we start talking about the great masters who created magical violins, let's find out where this instrument came from, why it is what it is and, in general, what is so special about it that it has been troubling our minds and hearts for half a thousand years...
Now, it is probably impossible to say exactly in which country and even in what century she was born. What is known is thatThe violin acquired its modern appearance in the 16th century and became widespread in the 17th century, thanks to the works of the great Italian masters.
Violin as the most common string instrument bowed instrument, not without reason is called the “queen of the orchestra.” And not only the fact that there are more than a hundred musicians in a large orchestra and one third of them are violinists confirms this.
The expressiveness, warmth and tenderness of her timbre, the melodiousness of her sound, as well as her enormous performing capabilities rightfully give her a leading position, as in symphony orchestra, and in solo practice.
Of course, we all represent modern appearance violin, which was given to it by famous Italian masters, but its origin still remains unclear.
There is still controversy surrounding this issue. There are many versions of the history of this instrument. According to some sources, India is considered the birthplace of bowed instruments.
Some suggest China and Persia. Many versions are based on the so-called “hard facts” from literature, painting, sculpture, or on early documents confirming the origin of the violin in such and such a year, in such and such a city.
From other sources it follows that many centuries before the appearance of the violin as such, almost every cultural ethnic group already had similar bowed instruments and therefore look for the roots of the origin of the violin in separate parts light is impractical.
Many researchers consider the synthesis of such instruments as the rebec, the guitar-shaped fiddle and the bowed lyre, which arose in Europe around the 13th - 15th centuries, to be a certain prototype of the violin.
Rebek is a three-stringed bowed instrument with a pear-shaped body that smoothly turns into a neck. It has a soundboard with resonator holes in the form of brackets and fifth scale.
Rebek came to Europe from the Middle East. It is much older than the violin, having been known already in the twelfth century. Rebec (French rebec, Latin rebeca, rubeba; goes back to Arabic rabāb) is an ancient bowed string instrument that influenced the formation of instruments of the entire violin family. The exact origin is unknown, perhaps in the late Middle Ages rebec was brought to Spain by the Arabs, or the Arabs became acquainted with it after the conquest of Spain.
The peak of popularity for this instrument occurred in the Middle Ages, as well as during the Renaissance.
At first, the rebec was a folk instrument, not a court instrument, used by jugglers, minstrels and other traveling musicians. Later it was also used in church and secular court music. Moreover, the rebeck sounded not only at social receptions, but also at village holidays. It is also a church instrument, an invariable companion to many religious rituals. Since the fifteenth century, the rebec has been used only in folk music playing.
Externally, the rebeck looks like an elongated violin. It does not have those sharp bends that are inherent in the body of a violin. In this case, the smoothness of the lines is important. The rebeck has a pear-shaped wooden body, the upper tapering part of which goes directly into the neck.
The body contains strings with a stand, as well as resonating holes. The frets and tuning pegs are located on the neck. The neck is crowned with an original curl, which is business card Rebecca. Two or three strings of the instrument are tuned in fifths.
The instrument is played with a bow that is moved along the strings. It is important to note that using a bow when playing string instruments supposedly arose in Asia in the ninth century and spread through Byzantium and Muslim countries throughout the territory Western Europe in the tenth – twelfth centuries. Rebek is one of the first instruments on which it became customary to play with a bow.
The tonal range of the instrument is quite extensive - up to two octaves inclusive. This allows you to perform not only program works on the rebeck, but also various types of improvisations. This largely explains why rebec was so popular among the people. The tool is quite compact in size. His total length does not exceed sixty centimeters. This allows you to easily transport the instrument without worrying about bulky cases.
Of course, this once again proves the “convenience” of the tool even in everyday life. An interesting fact is that one of the descendants of the rebec was called “pocket”, which translated from French means “small pocket”. This instrument was so small in size that it could easily fit in a dance teacher’s pocket. Then, during a rehearsal or ball, the teacher led the part, accompanying him on the poket.
Rebek belongs to the class of accompanying instruments that produce sounds due to the vibration of strings. The musician moves the bow along the strings, causing the strings to vibrate. This is how the sound of the instrument is born. These days, the instrument is classified as rare, but not forgotten. Rebek rightfully occupies important place in the heritage of world musical culture.
The rebec was once played in fairs, streets, but also in churches and palaces. Images of the rebec remained in psalters, illuminated manuscripts, and in the paintings of cathedrals.
The greatest artists of the Renaissance painted angels and saints who played the rebec: Raphael, Giotto, and the “blessed angelic brother” Fra Beato Angelico...
Raphael - “The Coronation of Mary” (fragment)
Giotto "The Wedding Procession of Mary" (fragment)
As we can see, the tool was quite popular.And yet the reputation of the rebec seemed to be ambivalent.
Just like the minstrels themselves - even though the gift is from God, the artists are still no, no, and they were suspected of something bad. In some places the rebek was demoted in rank: then he was placed in the underworld among the pagans,then they gave him into the clutches of strange half-humans - half-beasts of a suspicious appearance.
Paradoxes led to the fact that one day it turned out that although the rebec was once good enough for angels and saints to play on it, so that its playing would delight the ears of the Most Pure Virgin and the Lord God, as well as kings and queens, it was not good enough for to be played and listened to by decent people.
And it became a completely street instrument. And then he took it and disappeared completely.
But how did he disappear? Firstly, caring people made reconstructions in the 20th century, and secondly, maybe we feel some features of this instrument when we play the violin?
And the rebeck still sounds. And we can listen to him….. Like fidel (viola).
