INTRODUCTION
Most musical instruments, mainly used in symphony orchestras or chamber music, are delicate devices not only require regular maintenance, but which, if not cared for properly, can sometimes damage the instrument unusable. Avoid such damage is the purpose of this series of brochures, through proper care of the instrument.
is aimed at all users of the violin, viola, cello or bass and the viola da gamba, those beautiful historical instruments of the Renaissance and Baroque.
also is aimed at children and young people starting to use one of these instruments as well as their parents to help them understand the technical aspects in the care of these complicated and fragile devices that despite his long and sometimes tedious training, provide both running and listening pleasure.
acquire good habits as a child, even when using a factory tool will help you take better care when an expensive instrument, and more, be a professional.
An instrument, regardless of quality, sound better and more easily able to play still in good condition.
In this first issue it will be the bridge, the part upon which rest the ropes and it also serves to transmit their vibrations to the soundboard of the instrument.
BRIDGE
The bridge on the stringed instruments used to transmit the string vibrations to the soundboard and, together with top nut, determines the length of the rope.
Technically, the bridge is located at the height of the inner notches of the f holes in the lid (see Figure 1). The line AB that passes through the inner notches should be perpendicular to the axis of symmetry of the lid. The face of the bridge into this ridge is displaced ridge line to the equivalent to the thickness of the bridge at the top where the strings rest.
For better transmission of sound between bridge and top, the legs of the bridge should be cut so that perfectly fit the curvature of the lid. (1)
(1) The side facing the tailpiece should be completely flat, while, to give greater strength and while making the lightest bridge posoble, the side facing the fingerboard is slightly curved both horizontally and vertically.
Figure 2
If you see the bridge from the top nut (see Figure 3) it must be located symmetrically in relation to the fingerboard. With this bridge, theoretically, should be the center of the lid between the two Fs. If it is not the case, the cause may be one or more of the following factors:
1. The handle is off center.
2. The lid is not the correct curvature, is buried on the side of the bar raised harmonica side strut.
3. The bridge is ill-fitting: one leg is longer than the other.
4. The f holes are not centered.
Points 2 and 3 occur more frequently in larger instruments (cello, viola da gamba bass and double bass.)
Any of these defects can be disadvantageous to the sound of the instrument. For added safety check with an expert.
Figure 3 strings, when tuned, pull the bridge and bow toward the fingerboard. This will be less severe if applicable graphite (soft pencil) in the notches on the bridge every time you change a string. The musician must be aware and return the bridge into position, when the strings are new should do it more often.
Moving the bridge
To move the bridge, you must first take hold firmly the violin case on his legs and against the abdomen, head or socket of the instrument at the knees (in the cello on a table or chair) and string up. Both hands must remain free. The thumbs are placed under the strings, resting on the side of the ridge overlooking the bridge. (See Figure 4 for violin. For the cello is the same position.)
Figure 4 (Drawing: Octavio Aranda)
The index fingers are between strings 1 and 2 nd and 3 rd and 4 th, the middle fingers down the strings 1 st and 4 th, the last four on the side of the bridge that overlooks the pitch ( see Figure 4). When you first time, you can try first with little tense strings, no tuning, for testing.
index and middle fingers should put pressure on the bridge towards the tailpiece. The thumbs should press to the contrary, in the middle of the bridge, so that the top moves to the ridge, reaching the correct position.
Net operating
The legs of the bridge should fit perfectly with the lid. Should not be thus raised at any point.
The face of the bridge to the tailpiece should be perpendicular in relation to the edges of the violin top, side.
Keeping it in the correct position, a bridge should last about five years without losing its elasticity, depending on the quality of the wood. After this time can be changed by a new one to restore the force of the instrument.
The height of the bridge depends on the inclination of the pitch and the material they are made of strings.
If an instrument is put steel strings (hard), the distance of the strings to the fingerboard should be less than if they put strings of gut or nylon (soft). Therefore do not change strings on a material for another without changing the bridge also, if it does not change, the strings will rub the fork to vibrate, or be very hard to step on the toes.
When mixed with steel strings or nylon gut strings, the height should be governed by the softer.
The curvature of the bridge is crucial for playing comfort and cleanliness in the execution.
The arc must fight each string with ease and the performer's arm movement should be minimal when changing from one string to another. With a proper curvature, the distance of the strings to the fingerboard should be lower in the rope Acute and should increase gradually to the lowest string. If the above are not met, then the curvature of the pitch is incorrect.
Either way, whether the error is on the bridge or the fingerboard, it is recommended that the musician does not alter the bridge.
The depth of the notches where the strings rest should not exceed one third the diameter of the rope, except the 1 st which is very thin, otherwise they would drown the vibrations of the strings. Must be treated as the nut (see below).
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