String Instruments 101

String Instruments 101
OVERVIEW
Violin: The violin is the highest voice in the orchestral-string instrument family.
Violins are commonly associated with classical music, but there are other genres
such as bluegrass, folk and various styles of “fi ddle music.” Violins are also
occasionally heard in blues, jazz and rock. Contrary to some popular beliefs, the
violin is not a particularly diffi cult instrument to play. With consistent practice
beginners usually make rapid progress, playing simple melodies relatively quickly.
The violin is a particularly child-friendly instrument that is available in a variety
of sizes. As a young student grows, the violin can be traded for a larger-size
instrument. It’s critical that a student has the proper size violin in order to
learn proper technique. A violin that is too large for a student can create a very
uncomfortable situation. In extreme situations, this can lead to tendonitis.
Viola: The viola is an integral part of the symphony orchestra with 4 strings that
produce tones a fi fth lower than the corresponding strings on the violin. Violas are
slightly larger than violins and are commonly associated with classical music. Violas
are found in orchestras and string quartets. However, a quick internet search will
turn up many violas used in classic, indie and folk-rock music.
Violas are particularly child-friendly instruments because they’re available in a
variety of sizes. As a young viola student grows, their viola can be traded for a larger
size. It’s critical that a student has the proper size viola. One that is too large for the
student can create a very uncomfortable situation. In extreme situations, this can
lead to tendonitis. A viola with a body length of 15 inches or greater is considered to
be 4/4 size or full size.
BODY MATERIALS
Spruce: Straight-grained spruce is the only material used for the top of string
instruments. Most of the sound is produced by the top, and straight-grained spruce
is the only material strong enough to handle the heavy tension of the strings and
ensure a resonant sound. The longer the natural aging, the better—5 years is the
minimum preference of most instrument makers.
Maple: The neck, sides and back are generally constructed from maple because
of its strength, stability and beauty of its grain patterns.
Ebony: The fi ngerboard, tailpiece and endpin are usually made from ebony. This
dense, dark wood is strong but light enough that it will not make the instrument
feel top-heavy.
Other Woods: Rosewood, boxwood and a few other exotic woods are also used
for the tailpiece. These woods are chosen as much for their beauty as they are for
their individual sound characteristics. Poplar and willow are also occasionally used
in place of maple for the back and sides of a bass.
ACCESSORIES
Strings, rosin, chin rest, shoulder rest, practice mute, endpin rest, instrument
stand, sturdy case, and/or a padded gig bag are critical for string players.
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Cello: The cello is the second largest member of the string family and an integral
part of the symphony orchestra. Cellos have four strings producing tones an octave
lower than the viola, and their voice closely corresponds with the human bass voice
on the low end. Cellos are commonly associated with classical music, and are
primarily found in orchestras and string quartets. That is not to say a cello cannot be
used in other musical styles. In fact, by adding a pickup to electrify the instrument
and connecting it to effects pedals, the cello has been used in heavy metal bands.
Cellos are made in full and fractional sizes. While determining the appropriate
instrument size for violin or viola can be fairly simple (basically a function of arm
length), proper sizing of a cello is more complex, being a function of arm, leg and
body length.
Bass: The double bass is the largest member of the string family and an integral
part of the symphony orchestra. The double bass is also used heavily in jazz, big
band, bluegrass and folk-rock. It has four strings, producing the lowest tones of the
orchestral-string family. The double bass is also called an upright bass, bull fi ddle, or
string bass.
Double basses are made in full and fractional sizes. Due to its cumbersome size,
most bassists play 3/4-size instruments. While determining the appropriate
instrument size for violin or viola can be fairly simple (basically a function of arm
length), proper sizing of a bass is more complex, as it is a function of both arm and
body length.
Violin
Neck
Body
f-hole
Nut
Scroll
Pegs
Fingerboard
Bridge
Fine Tuner
Tailpiece
Chinrest
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String Instruments 101
ANATOMY
Scroll: A decorative piece at the top of the instrument.
Pegs: Typically constructed from a very dense wood. Pegs are used to adjust the
tension on the strings, resulting in tuning.
Machine Heads or Tuning Machines: Typically made from brass or nickel.
Machine heads are geared and used to adjust the tension and tune the strings
on the upright double bass.
Peg Box: A box between the scroll and nut that secures the pegs and/or the
machine heads.
Neck: Typically constructed from quality hard maple. A lot of stress is placed on
the stringed instrument neck. When brought to proper pitch, there can be over
200 pounds of tension on double bass neck.
Fingerboard: A long piece of wood glued on the top of the neck. This stiff, dense
wood adds strength to the neck to prevent it from warping. Quality fi ngerboards
are scooped inward towards the center and made from ebony.
Bridge: The bridge is held in place only by tension; no glue is used. Quality
bridges are hand-fi tted against the body to ensure proper sound transmission.
The bridge is higher where the lowest string crosses. Some bridges are heightadjustable,
which makes raising or lowering string action quick and easy.
Nut: A small raised piece of ebony at the top of the fi ngerboard with grooves for
the strings that keeps the strings properly spaced, and raises them the proper
distance from the fi ngerboard at the top end of the instrument.
Cello
Body
Neck
f-hole
Scroll
Pegs
Fingerboard
Bridge
Fine Tuner
Tailpiece
Endpin
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Nut
Continued
Viola
Neck
Body
f-hole
Nut
Scroll
Pegs
Fingerboard
Bridge
Fine Tuner
Tailpiece
Chinrest
F-Hole: Two holes precisely cut in the top to permit it to respond more freely,
and sound to be projected from the interior of the instrument.
Tail Piece: Found near the bottom of the instrument, the tailpiece anchors the
bottom of each string. It can be made of a variety of strong dense materials,
including ebony, carbon fi ber composite, plastic compounds, or light metals,
such as aluminum. Add-on devices for fi ne tuning of strings are sometimes
attached to a tailpiece. Fine tuners are also built into the tailpiece on
some models.
Tail Gut (tail piece gut, tail piece adjuster): A cord / cable / wire, originally
made from animal intestine, now constructed from nylon or metal, which
transfers the tension from the strings to the endpin or button, across the saddle.
Fine Tuner: A small mechanical add on device generally attached to the
tailpiece that permits very precise adjustments in string tension for tuning to
pitch. Fine tuners are extremely helpful in tuning steel strings where a very
small change in tension produces a relatively large change in pitch. They are
of limited effectiveness on gut or synthetic core strings due to the inherent
“stretch” of the core material which requires a fairly large increase in tension to
produce any appreciable change in pitch.
Endpin: A retractable/extendable rod, held in playing position by a thumbscrew,
which projects from the bottom of a cello or bass. It provides height
adjustment for various size players, and also serves as a anchoring point for the
tailgut.
Button: On a violin or viola, a small wooden knob fi tted tightly into the bottom
end of the instrument which anchors the tail gut.
Sound Post: Located on the inside of the body, the sound post is held in place
between the top and the back of the instrument by by provides structural
support and transmits sound from the top to the back.
Bass Bar: On the inside of the body, a small piece of wood that is glued under
the lowest string. The bass bar strengthens structural support and distributes
the sound over the entire length of the top of the instrument.
Chin Rest: A misnomer because the jaw should actually rest against the
chinrest, and the chin should be near the tail piece for a proper fi t. Chinrests
are available in a variety of shapes, heights and sizes for a personalized level
of comfort.
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Body
Bass
Neck
f-hole
String
Instrument
Sizing Charts
Scroll
Machine Head
Nut
Fingerboard
Bridge
Fine Tuner
Tailpiece
Endpin
Violin Size Arm Length
4/4 (full size) 23"
3/4 22"
1/2 20"
1/4 18 1/2"
1/8 16 1/2"
1/10 15"
1/16 14"
Viola Size Arm Length
16 1/2" 26 1/2"+
16" 26"
15 1/2" 25 1/4"
15" 24 1/2"
14" 23"
13" 21 1/4"
12 1/4" 20"
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String Instruments 101
CONSTRUCTION
Handcrafted: Building a string instrument is as much art as it is science.
Workshops employ luthiers, or stringed instrument makers, at different levels of
experience. The least experienced crafters typically work on less-expensive student
instruments. As the luthiers’ skill and experience increases, so does the level of
instrument they craft.
Set-Up: “Fine tuning” and adjusting the instrument’s individual components
to produce the optimal sound and ease of play. This can be done by the
constructing luthier, or quite of manufacturer’s employ “set-up” technicians to
prepare the instrument to play at its highest potential. Detailed shaping and shaving
of components, fi tting the bridge, adjusting proper depth and shape of the notches
at the bridge and the nut, and fi ne tuning are all responsibilities of the
“set-up” technician.
Flamed Maple: Flaming is a visual property of some woods, most noticeably
maple, that gives a wavy 3-dimensional appearance to the fi nished wood. It can
be enhanced by a variety of stains and other treatments. While this enhances the
visual appeal of a stringed instrument it does not necessarily enhance the quality
of sound produced.
Book-Matched: Most instrument backs are “book-matched,” or constructed from
two pieces of wood glued together. This process gives the instrument a uniform
appearance, but does not necessarily improve the sound quality.
Lamination: Basses may have a laminated top, basically a thin piece of plywood.
This process strengthens and stabilizes the instruments.
STRING SELECTION
The single most infl uential factor (after skill) of sound quality produced by a
stringed instrument is the choice of strings. There is no absolutely correct type of
string for all players under all circumstances. Each type of string has qualities that
make it more appropriate for different situations (i.e. solo vs. orchestral or country
vs. classical performances). Other factors such as cost, the players’ individual
preferences, and the way a particular string sounds on an individual instrument also
come into play.
Violin / Viola Sizing Cello Sizing Bass Sizing
With arm extended level with the
shoulder and palm up, measure from
the neck to the center of the palm.
A
Full Size (4/4) With the knees separated
14" – 15"(A), the distance from inside
of right knee to middle of left ear (B)
should be 30+ inches.
3/4 Size With the knees separated
about 13 1⁄2" – 14"(A), the distance
from inside of right knee to middle of left
ear (B) should be about 27 1⁄2" – 30".
1/2 Size With the knees separated
about 12" – 13"(A), the distance from
inside of right knee to middle of left ear
(B) should be about 25 1⁄2" – 27 1⁄2".
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orchestral string sizing information!
B
Bass Size Hand / Eye
Distance
4/4 (rare) 41"+
3/4 (usual
full size)
Continued
Approximate “ideal measurement” for
the various bass sizes is as follows:
39"
1/2 35 7/8"
1/4 33 1/4"
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