String instrument
The string instruments or chordophones are musical instruments that produce sounds by means of the vibrations of one or more strings, usually amplified by means of a resonance box. These strings are stretched between 2 points on the instrument and are made to sound by pulsing, rubbing or striking the string.
In the classical orchestra, the group of bowed string instruments made up of the groups of violins (usually divided into first and second violins), violas, cellos and double basses are called strings. The same happens with the string orchestra, which is made up of the same instruments. In a similar way, one speaks of a trio, quartet or string quintet, when it comes to groups of violin, viola and cello.
In most stringed instruments, vibrations are transmitted to the body of the instrument, which often incorporates some sort of hollow or closed area. The body of the instrument also vibrates, along with the air inside it. The vibration of the body of the instrument and the closed hole or chamber make the vibration of the string more audible to the player and the audience. The body of most stringed instruments is hollow. However, some—such as the electric guitar and other instruments that rely on electronic amplification—may have a solid wood body.
Early string instruments
A cave painting from the Trois Frères cave in France, dating to around 13,000 BC, depicts what some believe to be a musical bow, a hunting bow used as a single-stringed musical instrument. From the musical bow, families of stringed instruments developed; since each string played a single note, adding strings added new notes, creating bow harp, harps, and lyres. In turn, this led to being able to play dyads and chords. Another innovation came when the bowed harp was straightened and a bridge was used to lift the strings from the stick neck, creating the lute.
This image of musical bow to harp bow is theory and has been disputed. In 1965 Franz Jahnel wrote the critique of it stating that the earliest ancestors of plectrum instruments are currently unknown, he considered the harp bow to be far from the sophistication of Western Asian civilizations in 4000 BC. C. who took primitive technology and created "harps, lyres, zithers and lutes technically and artistically well made"."
Archaeological excavations have identified some of the earliest stringed instruments at sites in Ancient Mesopotamia, such as the lyres of Ur, which include artifacts over three thousand years old. The development of lyre instruments required the technology to create a tuning mechanism to tighten and loosen the tension of the strings. Wood-bodied lyres and strings used for plucking or bowing represent key instruments pointing to later harps and violin-type instruments; In addition, Indian instruments from 500 BC have been discovered. C. with between 7 and 21 strings.
String Instruments Division
The Hornbostel-Sachs classification system for musical instruments divides chordophones into two main groups: instruments without a resonator as an integral part of the instrument (having the classification number 31, also known as simple); and instruments with such a resonator (having the classification number 32, also known as a composite). Most Western instruments fall into the second group, but the piano and harpsichord fall into the first. Hornbostel and Sachs' criteria for determining which subgroup an instrument falls into is that if the resonator can be removed without destroying the instrument, then it is classified as 31. The idea that the piano case, which serves as the resonator, can be removed without destroying the instrument may seem strange, but if the action and strings of the piano are removed from their case, the piano can continue to be played. This does not happen with the violin, because the string goes through a bridge located in the resonator box, so removing the resonator would mean that the strings would have no tension.
Bowed string instruments
The bowed string instruments belong to the group whose sound is obtained through a bow (usually with the bow made of wood, which is the holding area, and a set of horsehair bristles tensed due to the fact that they are held to the two ends of the bow and with which the strings are rubbed), although there is also a technique of "pinching" the string, called pizzicato.
Examples of string instruments bowed transverse to the round:
- No frets: violin, viola, cello, contra bass and octa below. It includes the family of the electric violin, electric viola, electric cello and electric counter.
Violin (gathering from tripié), Viola (on tripié with scores), Violonchelo (left) and counterbass (right). - With frets: viola da gamba, arpeggione (instrument derived from the previous one) and zanfoña (the zanfoña is not an arch instrument, because although in it the ropes are made to sound by rubbing, this is not done with an arch, but with a wheel).
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Plucked string instruments
Plucked, plucked, or plucked string instruments are those string instruments in which the string vibrates after being plucked or plucked by the fingers, producing the sound. In addition to the fingers, a plectrum can also be used.
Examples of plucked or plucked string instruments:
- No mast and no keyboard: harp, lira and citara.
- No mast but with keyboard: carving, spine and virginal.
- With mast and without frets: Arabic laúd, three-bridge guitar, Mexican guitar, low without frets, tololoche, kora and shamisen.
- With mast and with frets: acoustic guitar, electro-acoustic guitar, Spanish guitar, electric guitar, steel guitar, banjo, mandolina, bandolina, bandolín tachirense, bandurria, laúd, sitar, bass acoustic, bass electric, four, Chilean guitar, charango, ukelele, tiple, timple, jarana requinchocha, docerola, guitar portugues
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Percussed string instruments
Percussed string instruments are strings that are struck or percussed (usually with small hammers).
They can be made of a box to obtain amplitude of sound, or without it, like the cymbal with mallets or the kayagum.
Examples of percussed string instruments
- No keyboard: salter, Hungarian cymbal and dulcimer.
- With keyboard: clavicordio, fortepiano and piano.
From the Renaissance to modernity
The design of stringed instruments was refined during the Renaissance and the Baroque period (1600-1750) of music history. Violins and guitars became more consistent in their design and were more or less similar to acoustic guitars of the 2000s. Renaissance violins featured intricate woodwork and stringing, while bass instruments were produced more elaborate, such as the bandora, along with quilted citterns and Spanish-bodied guitars.
In the 19th century, stringed instruments became more accessible through mass production, and instruments String instruments became a staple of orchestras: cellos, violas, and upright basses, for example, were now standard instruments for chamber ensembles and smaller orchestras. At the same time, the guitar of the 19th century became more associated with six-string models, rather than traditional versions of five strings.
The major changes in string instruments in the 20th century had to do primarily with innovations in electronic amplification of instruments and electronic music; electric violins were available in the 1920s and were an important part of the emerging music trends in jazz in America. The acoustic guitar was widely used in blues and jazz, but as an acoustic instrument, it was not loud enough to be a solo instrument, so these genres mainly used it as a backing rhythm section. In the big bands of the 1920s, the acoustic guitar played the backing chords, but it wasn't loud enough to play solos like the saxophone and trumpet. The development of guitar amplifiers, which contained a power amp and speaker in one box, allowed jazz guitarists to play solo and be heard over a large band. The development of the electric guitar provided guitarists with an instrument built to connect to guitar amplifiers. Electric guitars have magnetic pickups, a volume control knob, and an output jack.
In the 1960s, larger and more powerful guitar amps, called "stacks," were developed. These powerful amplifiers allowed guitarists to perform in rock bands that played in large venues, such as stadiums and outdoor music festivals (for example, the Woodstock Festival). Along with the development of guitar amplifiers, a wide range of electronic effects units were introduced in the 1960s and 1970s, many of them in small stompbox pedals, such as fuzz pedals, flangers and phasers, which allowed performers to create unique new sounds during the psychedelic rock era. Advances in electric guitar and bass technologies and playing styles allowed for great strides in pop and rock music in the 1960s and 1970s. The distinctive sound of the amplified electric guitar was the centerpiece of new genres. musicals like blues rock and jazz-rock fusion. The sonic power of the amplified and high-distorted electric guitar was the key element of early heavy metal music, with the distorted guitar being used in lead guitar roles and with power chords as rhythm guitar.
The continued use of electronic amplification units and effects on string instruments, from traditional instruments like the violin to the new electric guitar, added variety to contemporary classical music performances, and allowed for experimentation in the dynamic and timbre range (tone color) of orchestras, bands and solo performances.
Pitch change of a vibrating string
There are three ways to change the pitch of a vibrating string. Stringed instruments are tuned by varying the tension of the string because adjusting the length or mass per unit length is impractical. Instruments with a tuning fork are played by adjusting the length of the vibrating part of the strings. All of the following observations apply to a string that is infinitely flexible (a theoretical assumption, because in practical applications, strings are not infinitely flexible) strung between two fixed supports. Real strings have a finite curvature at the bridge and nut, and the bridge, because of its movement, is not exactly vibration nodes. Hence the following statements about proportionality are approximations.
Length
The tuning can be adjusted by varying the length of the string. A longer string produces a lower tuning, while a shorter string produces a higher tuning. A concert harp has pedals that cause a hard object to contact a string to shorten its vibrating length during a performance. Frequency is inversely proportional to length:
- f 1l{displaystyle fpropto {frac {1}{l}}}}
A string twice as long produces a pitch half the frequency (one octave lower).
Tension
The pitch of a string can be changed by varying the tension of the string. A string with less tension (looser) produces a lower pitch, while a string with higher tension (tighter) produces a higher pitch. Depressing a pedal on a pedal steel guitar raises the pitch of certain strings by increasing the tension on them (stretch) through a mechanical linkage; when you release the pedal, the tone returns to the original. The instrument's knee levers can lower the pitch by releasing (and restoring) tension in the same way. A homemade tea chest bass made from a string, broomstick, and tub can produce different pitches by increasing the tension of the string (producing a higher pitch) or by reducing the tension (producing a lower pitch). The frequency is proportional to the square root of the voltage:
- f T{displaystyle fpropto {sqrt {T}}}
Linear density
The pitch of a string can also be varied by changing the linear density (mass per unit length) of the string. In practical applications, such as double bass strings or piano strings, extra weight is added to the strings by winding them with metal. A heavier metal wound string produces a lower pitch than a string of the same length without a metal wound. This can be seen on a set of vintage double bass gut strings from 2016. The higher G string is usually made of synthetic material, or sometimes animal gut, with no metal wrapping. In order for the E bass string to produce a much lower pitch on a string of the same length, many turns of fine metal wire are wrapped around it. This increases its mass without making it too stiff. The frequency is inversely proportional to the square root of the linear density:
- f 1μ μ {displaystyle fpropto {1 over {sqrt {mu}}}}}
Given two strings of equal length and tension, the string with the greater mass per unit length produces the lower pitch.
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