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Alto Sax Introduction

Alto Sax

The saxophone is an instrument with a tone somewhere between a brass instrument and a woodwind. The sax is a must in all types of music from jazz, to classical, to pop, when a smooth and bright sound is called for.

Invented by Adolphe Sax (1814 - 1894), a musical instrument designer born in Belgium who could play many wind instruments. His idea was to create an instrument that combined the best qualities of a woodwind instrument with the best qualities of a brass instrument, and in the 1840s he conceived the saxophone. This invention was patented in Paris in 1846.

The saxophone has always been made of brass since it was first invented. Because of the principles by which it produces sound, however, it is classified as a woodwind, much like the clarinet and flute.

What metal is used to make a saxophone?

Brass is used to make the metal parts of a saxophone. Brass is an alloy composed of copper and zinc, and compared to iron, it has good rust resistance properties and is easy to work with. Some saxophones are gold plated or silver plated, but underneath the plating is brass.

 

Uses of the saxophone

Though the saxophone is made of metal, it generates sound with a single reed, and so it is classified as a woodwind rather than as a brass instrument. Be that as it may, the original goal of the inventor was said to be to bridge the gap between the brass and the woodwinds, to blend the divergent tones of the two groups in wind-instrument music, to reinforce the lower range of the woodwinds, and to create a tonal balance. The saxophone, in fact, blends in well with both brass and woodwinds, and is now heavily relied upon to firm up the tone of the band and give it a rich voice and charm.

The dynamic range of the saxophone is the widest of all the woodwinds. It has tonal qualities very close to those of the human voice, and it is capable of a wide range of expression, so it is no wonder that it features prominently in the history of jazz music as a solo instrument. In classical music as well, it enjoys a robust repertoire, particularly from French composers, and it is used in a wide range of instrumental groupings, including chamber music, orchestra, and even as a solo instrument.

 

Some Different Things You Can Do with the Alto Sax

There is a technique called "trilling" that allows musicians to embellish a melody by alternating rapidly between one pitch and the one just above it. The video below shows an example of trilling between F and F♯ using fingering.

https://youtu.be/JGMA3La0zSg

 

If you sing with your mouth on the mouthpiece, it produces a unique growling sound.

https://www.youtube.com/watch?v=JGMA3La0zSg&feature=emb_rel_end

 

 

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Viola Learn More

Viola Learn More

The viola is sometimes not as prominent as the other string instruments, it's smaller family member Violin and larger family members, Cello and Bass.  Yet it's rich, dark timbre and interesting history deserve a closer look.  Do you know, for example, that Bach, Mozart, and Beethoven all played the viola?  Or that the famed instrument maker, Stradivari, also made violas that are worth more than his violins?

INTRODUCTION TO THE VIOLA

The viola is the middle voice of the string family, sitting comfortably between the violin and cello. More specifically the viola’s range is a perfect fifth below the violin’s, having the same A, D, and G strings as the violin with the addition of a C string (an octave below middle C). It has the same four strings as the cello (C, G, D, A), but is one octave higher. As the middle voice in a string section, the viola similar to the alto voice in a choir. In fact, the viola uses its very own clef, called the alto clef.

How To Read Alto Clef:

Alto clef may seem unusual, but it is just as easy to learn as the treble or bass clef. The middle line, pictured below, indicates middle C. Once you know this, you can simply follow the lines up and down to find the other notes.

Violas are held almost exactly the same way as violins: to one’s left side, over the shoulder, and under the chin. In fact, the two instruments are so similar that many people have trouble telling them apart! This makes sense considering that they share the same playing position as well as three strings, but the viola’s slightly larger size creates a unique sound. A full-sized violin has a body length of 14 inches whereas there is no official full size for a viola. Violas found in orchestras generally range in size from 15 to 18 inches, with the most common size being 16.5 inches. While a couple of inches may not seem like a big deal, that extra size is the crucial element in the creation of the viola’s unique sound, It's chocolaty sound draws people to play and listen to the viola.

MORE BACKGROUND

Would you believe that the beautiful tone of the viola has often prevented it from achieving the same fame as the violin and cello? This makes sense if you think again about the vocal equivalents of each string instrument. The violin is the soprano voice of the strings and the cello is the tenor voice of the strings. It is very easy to hear sopranos and tenors in a choir and even basses for that matter, but what are the altos up to? Much like altos in a choir, the viola often fills in harmonies in an orchestra. Its dark and chocolaty sound blends the string sections together and gives body to the orchestra as a whole. You may not notice them at first, but should you lose your alto voice/violas, your ensemble would sound hollow and deflated! Violas really are the (pardon the pun) the unsung heroes of the orchestra!

THE UNSUNG HERO

The viola is hundreds of years old. In fact, some reports say that it is the oldest of the string family. The viola has been utilized as a harmonic (as opposed to melodic) instrument by composers for hundreds of years. This is the main reason that people are less familiar with it than the violin or cello. The viola has less solo music written for it than the violin and cello, and while it does have more solo music written for it than the string bass, the viola is still less recognized than the bass. Besides being visually hard to miss on stage, basses are regularly seen performing in various popular music groups such as jazz ensembles and pop/rock groups.

This lack of star power has also contributed to something curious amongst violas and viola bows. Because of their role as harmonic instruments, violas were not made in as large numbers as the violin and cello. Great old violas and bows are extremely rare and thus a viola made by Stradivarius or Guarnerius is worth many times more than a violin of the same condition. Fortunately, there are several viola makers today that specialize in producing great violas, making for many happy violists.

A term used to refer to a variety of bow and string instruments

Nobody knows for sure where and when the first viola was created. However, it is known for a fact that the instrument was in use in northern Italy around the same time as its cousin, the violin (i.e. the first half of the 16th century). Although the instrument is called "viola" in both Italian and English, use of the term only became commonplace from the 18th century onwards. Up until then "viola" was used to refer to a variety of bow and string instruments (i.e. stringed instruments played with a bow)-which should be obvious if you consider the example of the instrument called the viola da gamba (which means "viola for the leg"). In French, violas have been called "altos" since the Baroque period, because they are the members of the violin family responsible for playing in the midrange. The German word for viola ("bratsche") is said to come from "viola da braccio" ("viola for the arm"), which is what instruments in the violin family were referred to in Italy during the 16th and 17th centuries.

An early viola.

An early viola. Its sloping shoulders show its lineage from the viol.

 

How the structure of the viola has changed over the years

Size comparison between a viola and violin

Size comparison between a viola and violin

The four strings on a viola are tuned in fifths to the notes c, g, d', and a'. This tuning is exactly one fifth below the violin, expanding the instrument's low range. Of course, while the instrument itself is larger than a violin, violas are not kept to strict size standards even today.  Compared with the bright sound of violins, violas produce a refined and more somber timbre. This is likely due to the compromise that had to be struck between acoustics and size.

The structure of the viola has changed over the years in a similar fashion to that of the violin. The body of the instrument was reinforced in order to allow it to play louder music more evenly. The neck was attached at a sharper angle and the bridge was made more durable, allowing for the strings to be strung more tightly and dramatically increasing the instrument's volume. 

Should I Pick Viola?

Should you play viola? Well, the most important question to ask yourself is, Do you love the sound of the viola?

As I mentioned earlier, the viola and violin are played in a similar manner. The main difference is that the viola is slightly larger, meaning that you must place your fingers slightly farther apart when playing viola than on the violin. Since the instrument is larger, is it also heavier and requires thicker strings and heftier bows.

Viola bows generally weigh anywhere from 69 to 74 grams—about 10 grams heavier than violin bows. One way to tell a viola bow apart from violin bows is by looking at the frog (the part of the bow that is held in the hand). The frog on a viola bow is rounded while the violin bow is pointed. The cello bow also has a rounded frog, but is shorter than both violin and viola bows and weighs around 10 grams more than a viola bow.

Another major difference in playing viola is the use of the alto clef. Alto clef is easy to read (with a bit of practice) once you know that the center line on the music staff is middle C. Although the alto clef was used quite widely in the Baroque period, it is rarely used by instruments other than the viola in modern times. The trombone and cello sometimes use tenor clef, which looks like an alto clef floating one line higher on the music staff. It should be noted that violists also get to use treble clef on occasion when they play in higher registers.

The last major difference between playing the violin and viola is in the production of sound. Generally, because of its thicker strings the viola speaks slower than the violin. That is, it actually takes a bit longer to hear its sound from the time the bow touches the string. Violists need to be mindful of this since we don’t want to be behind the violins in the orchestra! They also need to learn to play slightly shorter strokes than on the violin depending on the desired sound. The viola can be easily lost in the sound of an orchestra, therefore they need to be able to stop and start bow strokes clearly in order to be heard. Violists have to be masters of articulation! Remember that the viola is the middle voice in the string section. They are often the mediator between the articulations of the cellos/basses and the violins (It is no coincidence that violists as people tend to be calm and stable!) Along with sound production comes vibrato! Again, vibrato on the viola is very similar to that of the violin, but it tends to be slightly slower and wider to match the larger size of the instrument. Of course vibrato is purely personal, but a slower and wider vibrato achieves the darker tone that is more commonplace on a viola.

IMPORTANT VIOLISTS

Would it surprise you to know that Mozart, Beethoven, Dvorak, Paul Hindemith and even Paganini played the viola? It’s true! Mozart and Beethoven loved to sit in the middle of the sound when performing their own string quartets. Dvorak was a very good violist and worked as a viola player early in his life. Paganini studied with Alessandro Rolla, a famous viola virtuoso and composer, who most likely introduced Paganini to the wide technical possibilities of the viola. It was Paganini who commissioned Hector Berlioz to write Harold in Italy, a symphony that features a solo viola. As the story goes, Paganini thought that the solo viola part written for him was not flashy enough and he decided to write his own viola composition. The result was the Sonata per la Grand’Viola, a piece in the same vein as Paganini’s virtuoso works for violin.

Famous Composers Who Played Viola:

  • J.S. Bach
  • Ludwig van Beethoven
  • Benjamin Britten
  • Antonin Dvorak
  • Joseph Haydn
  • Paul Hindemith
  • Wolgang Amadeus Mozart
  • Franz Schubert

 

These violists have improved the playing of viola in the last 100 years.  There are good contemporary violists too: Yuri Bashmet, Tabea Zimmermann, Roberto Diaz, Kim Kashkashian, Nobuko Imai, and Helen Callus, as well as Lionel Tertis, William Primrose.

 

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Violin Introduction

Violin

Whether performing an elegant solo or being the heart of the orchestra, the violin is a "star" in the music world.

The origins of the Violin
The birth of the violin

Instruments like the violin that use a bow to produce a sound are called bowed stringed instruments. The Arabian rabab and the rebec, which came from the orient in the middle ages and was played widely in Spain and France in the fifteenth century, are said to be the ancestors of the violin. Near the end of the middle ages, a bowed stringed instrument called a fiddle appeared in Europe.
In the East, the Chinese erhu and morin khur evolved from the rabab, and so they are relatives of the violin

A woman playing a fiddle

A woman playing a fiddle

Compared to its ancestors, the violin is in a class by itself in terms of completeness. In addition, it was not improved gradually over time, but appeared in its current form suddenly around 1550. Yet, none of these early violins exist today. This history of the violin is inferred from paintings from this era that feature violins.


The two earliest violin makers in recorded history are both from northern Italy: Andre Amati from Cremona and Gasparo di Bertolotti from Salon (Gasparo di Salon). With these two violin makers, the history of the violin emerges from the fog of legend to hard fact. Violins produced by these two still exist today. In fact, the oldest violin in existence today is one built by Andre Amati around 1565.

The oldest existing violin, built by Andrea Amati

The oldest existing violin, built by Andrea Amati.

The preferred material for the stick of the violin bow has been pernambuco wood, which only grows in the Amazon delta region in South America. Originally, it was exported to Germany for use in creating dyes, but because of its unusual hardness, it began to be used to make bows. However, in recent years, this natural resource has began to become depleted. Tree farms were also created, but it takes 30 years for this tree to attain full growth.
The carbon bow shown in the figure below uses carbon instead of wood. Developed to protect the global environment while ensuring that the seeds of music continue to germinate, carbon bows have has good gripping characteristics and are long lasting.

Carbon bow

Carbon bow

 

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Cello Introduction

INTRO

The cello has been delighting music lovers for hundreds of years now, thanks to its lively and vibrant sounds and warm tones that are similar to human voice qualities.

 The cello comes from the violin family and is often referred to as the violoncello. It is a bowed string instrument with four strings separated by an interval of a fifth.

The cello has become an indispensable part of Western music not all of a sudden but over time for the needs of the musicians.

Cellists always get to sit down!  The cello is held between your knees.   

A painting from the first half of the 19th century depicting a cellist playing with the instrument held between his knees

The cello is the second largest bowed string instrument, second to the String Bass, and the second lowest pitched bowed string instrument.

Cellos are used in jazz, ethnic and pop/rock music, but most closely associated with European style classical music

 

Apocalyptica at the 2009 Ilosaarirock festival.

One of the most famous classical cellists is YoYo Ma.

 The cello is less common in popular music than in classical music. Several bands feature a cello in their standard line-up, including Hoppy Jones of the Ink Spots and Joe Kwon of the Avett Brothers. The more common use in pop and rock is to bring the instrument in for a particular song. In the 1960s, artists such as the Beatles and Cher used the cello in popular music, in songs such as The Beatles' "Yesterday", "Eleanor Rigby" and "Strawberry Fields Forever" 

 

 

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Violin Cleaning and Care

Care and Maintenance of a Violin
Daily care and maintenance

The varnish on a violin is very delicate. The tone of violins, guitars, and other acoustic instruments is influenced to a great degree by the varnish, making it an important element of the instrument. Thus, to keep the finish in good condition, always wipe the instrument after playing. This is an iron-clad rule. The instrument should be wiped with a cloth specially designed for this purpose, or a chamois.
Where possible, one cloth should be used only for the strings and the fingerboard, which should be wiped well. If the strings are thick with rosin, their tone will suffer and may produce noise. The fingerboard easily becomes dirty with sweat from the fingers. Normally, a dry cloth is used to wipe down the instrument, but if there is a significant build-up of rosin or other matter on the top plate, please consult a specialist.

After playing, always wipe

After playing, always wipe.

Once you are done playing and have wiped the instrument, always put it in the case. The violin is so delicate that it may start to creak and pop if exposed to the wind of an air conditioner. The optimum humidity for a violin is 50%. To keep the violin's environmental conditions as close as possible to this ideal, make a habit of putting the violin in its case immediately.

Violins are sensitive to changes in temperature and humidity. If they are kept stored in high humidity and temperature the top plate and bottom plate will swell, changing the thickness of the body and causing the sound post to collapse. Conversely, if the instrument is kept in a dry environment for long, the fingerboard could detach from the body. Violins should therefore be stored in environments where the humidity and temperature are kept as stable as possible. If just being a room gives you a cold or makes you feel uncomfortable, it's probably a poor choice as a place to store your violin.
Another point to consider is that the body of the violin has many curves, so it's not safe to just place somewhere without any thought. Note also that the varnish on the violin should not be exposed to direct sunlight. You should therefore store your violin in its case, in a safe location.

Yamaha's Stringed Instrument Polish

Yamaha's Stringed Instrument Polish, which can be safely used even by beginners.

The regular care of stringed instruments consists of wiping the instrument with a dry cloth specially designed for stringed instruments each time after playing. Normally, this is all that is needed, but when used over a long period of time, the violin acquires an unavoidable build-up of rosin dust around the bridge, and of grease and fingerprints on the fingerboard and other places where the skin comes into direct contact with the instrument. Use a cleaner to clean the instrument when this build-up becomes noticeable. This not only removes the build-up but also restores luster to the varnish.

There are many types of cleaner on the market, and they differ primarily in the type and volume of the polish that they contain. Simply put, those without polish do not have the strength to remove a great deal of dirt, but they are kind to the instrument. In contrast, those with polish remove build-up, but may also harm the instrument.

One polish that is used by both beginners and pros alike is Yamaha's Stringed Instrument Polish. It contains no polish and so is safe to use with any instrument. Of the other products that contain polish, Hill & Sons from England and Millant from France are both famous.

All cleaners are used basically in the same way. Using two cloths specially designed for stringed instruments, put a small amount of polish on one to remove the dirt, and use the other to wipe down the instrument after the dirt is removed. If the same cloth is used for both purposes, the instrument will become dirty again, so be sure to use two cloths. When using a cleaner that contains polish, shake the bottle well before using, and be careful not to wipe hard. However, cleaners that do contain polish will inevitably remove a very small amount of the varnish and so should not be used on old instruments. If there is some resistant dirt that does not come off with normal polishing, consult a specialist.

Cleaners and Cloths

All cleaners are used in the same way. Using two cloths specially designed for stringed instruments, put a little bit of polish on one to remove the dirt, and use the other to wipe down the instrument after the dirt is removed.

 

Care and Maintenance of a Violin
Changing the strings

Strings on the instrument will eventually lose their shape and their tonal qualities. The strings should be changed regularly to maintain good tone quality. How much you play is also a factor, but all strings should be changed at least once a year.

Strings on the violin

Strings should be changed at least once a year.

First, spread a mat on top of a table. Then, to protect the instrument, spread a cloth on the lower half of the body underneath the tailpiece. The bridge will come loose if the strings are all removed at once, so strings are changed one at a time. First, completely loosen the tuning peg and remove it from the peg box, then remove the string from the peg box hole. At the tailpiece, the small, round, metal part at the end of the string is simply wedged in the groove of the adjuster, so you can easily remove this as well.

Spread a cloth to avoid damaging the instrument.

Spread a cloth to avoid damaging the instrument.

Return the tuning peg to the peg box, put the end of the new string in the adjuster, and thread the other end of the string on the tuning peg and wind it up. Be sure to wind the string from the inside of the peg box to the outside, and tighten it enough to properly place it on the bridge. Once all the strings have been replaced, check and adjust the position of the bridge, and then tighten one string at a time to tune it.
This is not difficult work, so at least try doing it yourself first!
The E and A strings break easier than the others, so it is advisable to always keep an extra set in the case.

 

Care and Maintenance of a Violin
Occasional maintenance

Of all the inquiries about the repair of stringed instruments, most are inquiries about the bow and of these, 80% are requests to rehair the bow. The violin is played using rosin on the hair to make it cling to the strings, but when rosin dust is absorbed into the hair, the surface of the hair becomes slippery, and the bow will not cling to the strings, no matter what type of rosin is used. Thus, when the bow will no longer cling to the strings, it is time to rehair the bow. As a guideline, beginners should rehair every six months to a year.

Head of the bow

This is the head of the bow. Adhered to the head is a white part called the chip.

Another problem with the hair is that it stretches and shrinks depending on the season. During the dry winter months, the hair shrinks, and no matter how much you loosen the screw, the hair is not loose enough. In contrast, during the summer, the high humidity causes the hair to stretch, and no matter how much you tighten the screw, the hair is not tight enough. Sometime an adjustment is all that is needed, but in many cases rehairing is required. Regular rehairing is advisable for the best tone.

The most important part of the bow is the head. If you look closely, you will notice that each bow head is a different shape and size, giving individual bows their own distinctive character. This chip often becomes cracked. Both bone and plastic are used to make the chip, but the plastic type is easily cracked. To fix a cracked chip, the old chip must be removed and a new chip glued to the head.
In addition, the bow is very delicate and should be stored in the instrument case when not in use, but some people accidentally put it in the wrong way. As shown in the picture, the bow should be inserted with the head secured by the strap. If the bow is put in facing the other direction, the head will rattle around.

Violin case

Be careful to secure the head when storing the bow.

If high humidity is a concern, the violin case can be made dry and cool for safe storage of the instrument. Some cases come with a thermometer and hygrometer built in, but even for those that do not, a hygrometer can be put into the case. For more protection, there are products that can help control humidity, those that remove humidity only, and others that prevent both too much and too little humidity. The most inexpensive of these start at about US $9.00. Products that only remove humidity are used during periods of high humidity, while the dual action type can be used all year round and can normally be left in the case.

Composition

Peg compound for making the tuning peg easier to turn

During periods of high humidity, the tuning pegs become hard to turn because of the swelling of the wood. Peg compound is a useful tool at these times and makes it easier to turn the tuning pegs. Keep some peg compound on hand in seasons with lots of rain. Apply the compound only to the parts of the tuning peg that come into contact with the peg box.

Lift the violin up to eye level and look straight across the bridge. The bridge on the tailpiece side should be standing perpendicular from the top plate when looking directly from the side.
However, the tension of the strings constantly pushes the bridge down toward the top plate, and the bridge can easily become crooked. Be careful! This can cause the feet on the bridge to deform, or can even cause the bridge itself to bend. If the bridge becomes crooked when you tune the instrument, the bridge may have deformed, and you should have an expert take a look.

To adjust the bridge yourself, follow the procedure below:

  1. Look at the violin from the side and check the angle of the bridge.
  2. If it is not perpendicular, slightly loosen the strings, then carefully move the bridge into place.
    When doing this, be sure to stabilize the instrument by laying it on your lap and cradling the corners of the violin with both hands (from your wrist to the base of your little finger). Then, grip the bridge from above with the index fingers and thumbs of both hands, and carefully move the bridge into alignment.
  3. Tune the instrument and check the angle of the bridge again.
    Continue until the bridge is perpendicular. If this is the first time for you to do this kind of work, it's a good idea to have someone who has done it before observing you.

The sound post is only wedged between the top and bottom plates, and sometimes it falls down. It will be obvious when the sound post falls because it will rattle around inside the instrument. When this happens, have a professional fix it rather than trying to fix it yourself. The sound post is installed using a special tool (see photo). Once the sound post is wedged between the plates, it is lightly tapped to move it into the proper position little by little. This is very difficult to do for all but the most seasoned professionals. However, if the sound post is not perfectly straight or its position is off even by a few millimeters, the tone of the instrument will be degraded.

The sound post can be seen through the f-hole

The sound post can be seen through the f-hole

Some people think they would like to try to fix the sound post themselves, but this is unadvisable as attempting to do so may damage the instrument. It is strongly advised that you leave it to a professional.

The tool used to install the sound post.

The tool used to install the sound post.

When a peg becomes loose, remove it from the peg box and apply some chalk to it.

When a peg becomes loose, remove it from the peg box and apply some chalk to it.

When the climate is very dry, loose pegs are a common problem. This is because the wood becomes dry and shrinks, causing the pegs to become loose in the peg box. In the worst cases, the peg spins freely inside the peg box. To resolve this problem, completely loosen the pegs and remove the string, then apply chalk to the peg to help create friction. It is not necessary to apply chalk or rosin to the entire peg, only those parts that come into contact with the peg box. Needless to say, when the climate is humid, the wood swells, and the peg is difficult to turn. Thus, if the peg box holes and pegs just happened to be produced in the cold winter months, there will likely be significant problems with these parts come summer. However, there are some cases where it is not just a problem of dryness but rather a problem of age that requires a physical solution. If chalk does not solve the problem, you must consult an expert.

Replacing the rubber part on the shoulder rest requires a considerable amount of strength. To minimize resistance when fitting the rubber part, first apply a drop of water with your finger or the like to the part of the foot of the shoulder rest that is bent most sharply. Apply a single drop to both the front and rear of the bent portion. Next, insert the rubber part carefully, like you are stroking it. After fitting it, use a cloth to wipe away any remaining water.

 

Care and Maintenance of a Violin
Bow maintenance

The first and most basic rule of bow handling is to tighten the hairs before playing, and loosen them right after playing. The curve of the bow is very important, and if the tension of the hair is not released, the bow may lose its curve. If the bow looses its curve, it looses its elasticity, which makes it difficult to apply pressure and impossible to produce a sound.

Rosin dust will inevitably adhere to the stick, so this should be wiped with a cloth after each performance. A lot of rosin accumulates on the inside of the stick, so use a cloth to wipe this area first (see photo).

Put the cloth on the inside to wipe the stick

Put the cloth on the inside to wipe the stick

If you touch the hairs with your fingers, rosin will not stick to them, so it is important not to touch the hairs when wiping the stick. Also be sure to wipe the areas that are exposed to sweat, particularly the area where the stick is held.

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Violins Learn More - How They Are Made

How a Violin is Made
Selecting the right piece of wood

The wood that will eventually be used to make a violin is stored in a temperature and humidity controlled room 24 hours a day, 365 days a year, to preserve the moisture in the wood.

Storing materials at a certain temperature and humidity before processing

Storing materials at a certain temperature and humidity before processing

A piece of spruce for the top plate cut cleanly with a hatchet along the grain

A piece of spruce for the top plate cut cleanly with a hatchet along the grain

Top plate materials come from the resonant and light, but hard, spruce tree, which is a type of pine tree in the fir family. The spruce looks like the type of fir trees that are used as Christmas trees. Strong pieces in which the fibers run straight are selected, and a hatchet is used to split it so that the fibers are not cut.

When cutting material from a tree, the outer portion where the age rings are denser is cut thicker, which forms a trapezoid as shown in the diagram. When the left and right sides are put together, the outer portion, which is the hardest portion because of the denser age rings, falls in the middle, where the bridge is placed. This also makes the grain of the wood symmetrical, which means the vibration qualities are symmetrical as well.

Obtaining the top plate and bottom plate from a tree

Obtaining the top plate and bottom plate from a tree

Maple is used for the bottom and side plates because of its beautiful wood grain pattern. Practical considerations are not the only concern. Craftsmanship is also important.

 

How a Violin is Made
Shaping the ideal tone

The body of a violin is rounded, and in fact, the thickness of the wood is not uniform either. Both the shape and the thickness describe a gently curving line. This lack of a straight line as a point of reference makes it very difficult to accurately shape. Thus, shaping is normally left to the judgment of an experienced craftsman.

The thickness of the bottom plate also varies, so that its surface forms a curved line.

The thickness of the bottom plate also varies, so that its surface forms a curved line.

Using a scraper to remove bumps from the top plate

Using a scraper to remove bumps from the top plate

The ideal shape for both the top and bottom plates are stored as three-dimensional data in a computer. This data is used in a high-precision technology called numerical control (NC) processing, which shapes the wood. After an initial rough shaping, a groove is carved around the edge and purfling, a three-ply piece of wood with black, white, and black plies, is inserted by a craftsman. Then, NC processing is applied again to complete this stage of the shaping. This is not, however, the end of the shaping process. In the end, a craftsman uses a scraper to remove the 0.1 mm bumps that remain on the surface of the top plate.

In order to obtain the best tone from the wood, the tonal qualities of the top and bottom plates are measured during the shaping process. This process is repeated during the attachment and shaping of the bass bar on the top plate.

To measure the tonal qualities of a piece, a craftsman knocks on the piece in front of a special measuring device. The frequency and volume of the sound thus produced is instantly shown as a graph on the display. If the wood is hard or light, the tone is higher, and if the wood is soft or heavy, the tone is lower. The graph will change depending on the characteristics of the wood, and this is used as a reference during the shaping process.

Tone measuring device:  The x axis shows the frequency, the y axis shows the volume

Tone measuring device: The x axis shows the frequency, the y axis shows the volume

Pre-bending a side plate with an iron

Pre-bending a side plate with an iron

The scroll is at the very top of the neck. The scroll is intended to look like a rolled up strip that is narrower in the middle. The craftsman's skill is demonstrated in the symmetry of the scroll. When the necks of older violins need to be replaced, often times the scroll and the body are kept, and the central part of the neck alone is replaced.

The scroll is at the very top of the neck. The scroll is intended to look like a rolled up strip that is narrower in the middle. The craftsman's skill is demonstrated in the symmetry of the scroll. When the necks of older violins need to be replaced, often times the scroll and the body are kept, and the central part of the neck alone is replaced.

The scroll is carved to look like a rolled up strip that is thinner in the middle

The scroll is carved to look like a rolled up strip that is thinner in the middle

 

How a Violin is Made
Varnishing, assembly, and then some

Once the top plate, bottom plate, side plate, and neck have been shaped and assembled, you have a white violin. Now it is ready to move on to the varnishing and assembly process.

A white violin before the neck is attached

A white violin before the neck is attached

This process is sensitive to dust, so the varnishing space has controlled air flow that ensures the air flows smoothly only from the top to the bottom of the room to keep the room clean. First the wood is treated with a filler to prevent the varnish from being absorbed, and then a colored varnish is applied in several layers. Each time, the varnish is allowed to dry and is polished to give it a lustrous shine.

Polishing between applications of varnish

Polishing between applications of varnish

Next we move to the assembly process. The fingerboard and nut are attached first, and the bridge is put into place while the strings are being attached. The sound post is then installed, completing the assembly.

The bridge is installed while stringing the violin.

The bridge is installed while stringing the violin.

Installing the sound post through the f-hole

Installing the sound post through the f-hole

Using a special tool designed for this purpose, the sound post is installed through the f-hole. The sound post is not just sandwiched between the top plate and bottom plate. It must be installed in the proper position and be perfectly perpendicular to the plates, and it must also be positioned properly in relation to the bridge. In some cases, the sound post is tapped, and the resulting sound indicates whether it has moved or not.

The sound of a violin gets better the more it is played. Routine seasonal changes also help to remove new instrument distortions. Speeding this aging process along is the objective of Yamaha's Initial Response Technology. Through this technology, even a new instrument can produce a richer resonance without noise. This technology works by applying a vibration to the bridge and tailpiece of an instrument, which produces exactly the same effect as playing the instrument with a bow for a long time.

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Trumpet Care and Maintenance

Care and Maintenance of a Trumpet
Weekly care and maintenance

Carefully remove the slides and wrap a polishing gauze around a cleaning rod so that the metallic part of the cleaning rod's tip is not exposed. Now proceed as follows:

  1. Remove the dirt from inside the middle and outer slides.
  2. Lubricate the slides that have triggers attached to them (the first and third slides) using tuning slide oil. Work each slide back and forth two or three times to work in the oil.
  3. Apply a small amount of slide grease to the slides that do not have triggers attached to them (the main slide and the second slide). Work each slide back and forth two or three times to work in the grease.
Remove the dirt from inside the middle and outer slides
 
Lubricate the slides that have triggers attached to them (the first and third slides) using tuning slide oil
 
Apply a small amount of slide grease to the slides that do not have triggers attached to them (the main slide and the second slide)

Apply slide grease to the main tuning slide and the second valve slide, and tuning slide oil to the first and third valve slide.
Oil is applied to allow smooth movement while playing, so that the first and third valve slides can be used to control pitch. If grease, such as that used on the main tuning slide and second valve slide, is applied to these components, it will be more difficult to achieve a smooth movement. On the other hand, because movement of the main tuning slide and second valve slide during play is undesirable, tuning slide oil is not used on these parts.
This is the reason grease and oil are used differently.

Make up a solution of brass soap, consisting of 10-15 parts warm water (30°C-40°C) to one part brass soap. Soak a mouthpiece brush in the brass soap solution and clean the mouthpiece by pushing the brush through the throat. Now use clean water to wash off the mouthpiece.

Make up a solution of brass soap

Twist a polishing gauze into a thin strand and use it to carefully clean the intricate parts of the instrument.

Use a tone-hole cleaner to remove dirt from the water-key hole.

Cleaning the water key hole

 

Care and Maintenance of a Trumpet
Monthly care and maintenance

  1. Wrap a polishing gauze around a cleaning rod so that the metallic part of the cleaning rod's tip is not exposed, and use it to wipe dirt from the inside of the valve casings.
  2. Wipe dirt off the pistons using a polishing gauze. Insert the pistons into the valve casings and apply two or three drops of valve oil to the valve casings.
Wrap a polishing gauze around a cleaning rod so that the metallic part of the cleaning rod's tip is not exposed, and use it to wipe dirt from the inside of the valve casings
 
Wipe dirt off the pistons using a polishing gauze. Insert the pistons into the valve casings and apply two or three drops of valve oil to the valve casings

Make up a solution of brass soap, consisting of 10-15 parts warm water (30°C-40°C) to one part brass soap.

  1. Soak a flexible cleaning brush in the brass soap solution and use it to wash the inside of the tube.
  2. After removing the dirt, use clean water to wash off the brass soap. Thoroughly dry the inside of the tube using a gauze and then apply oil or grease. After removing all moisture with gauze, apply oil and grease.
Soak a flexible cleaning brush in the brass soap solution and use it to wash the inside of the tube
 
After removing the dirt, use clean water to wash off the brass soap. Thoroughly dry the inside of the tube using a gauze and then apply oil or grease. 
After removing all moisture with gauze, apply oil and grease

After cleaning your instrument you should use one type of valve oil until the next time you clean the instrument. When changing valve oil types, washing away or wiping off any old oil from within the piston and the valve casing will allow the most to be made of the new oil’s properties. Depending on the oils, mixing oils together may cause stickiness and prevent the true benefits of the oil from being obtained.
This is also true for products from the same company. For example, Yamaha Valve Oil and Yamaha Valve Oil Light feature the same basic ingredients but differ in the small amounts of additives, etc. used. If possible, we recommend that you wipe off old oil and clean the instrument before using different oil.

Water key cork becomes soft due to water absorption with extended use. Left as-is, the cork will become damaged so that the key is unable to fulfil its role, so it’s best to replace it. You can purchase cork as a standalone product at musical instrument stores. Simply use quick-setting adhesive to attach cork to water keys.

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Trombone Introduction

Trombone Introduction

Trombone

Trombones produce sound as they are extended and contracted. They have continued to evolve since their creation in the 15th century.

The origins of the Trombone
The birth of the trombone

The trombone is said to have been created in the middle of the 15th century.
Until the 18th century the trombone was called a "saqueboute" (in French) or a "sackbut" (in English). Although opinions vary on the etymology, some sources (such as The New Grove Dictionary of Musical Instruments) suggest that the word comes from the French word "sacquer," which means to draw out (a sword or the like). The instrument may have gotten its name due to the action of sliding the tube out to lengthen it resembling a swordsman drawing a sword from a scabbard.
The current name of the instrument means "large trumpet." In German this instrument is called a "posaune," which originally meant "trumpet." This is because the trombone and trumpet are like relatives sharing the same ancestor.

Trombones have been used in a variety of situations, including the courts of aristocrats, churches, and in military bands. However, beginning in the 18th century the instrument was seldom used in secular music. Instead, it was used much more often in religious situations such as in church. Trombones have a range similar to that of the human voice and are capable of producing awe-inspiring harmonies during concerts, so they began to be treated as "divine instruments." Composers therefore are said to have refrained from using trombones in music outside of masses, oratorios, or other religious music.

16th century Flemish painting

16th century Flemish painting

Beethoven was the first to use trombones-until that point seen as religious instruments-in a secular symphony. "Symphony No. 5 in C minor, Op. 67" ("Fate"), first played in 1808, was the first symphony in which a trombone was used. Beethoven would go on to use trombones again in "Symphony No. 6 in F major, Op. 68" ("Pastoral Symphony") and "Symphony No. 9 in D minor, Op. 125" ("The Choral"), building a foundation for the trombone to stand as a fixture in orchestras in the 19th century.

The origins of the Trombone
Other similar instruments

It seems that trombones were been made in a variety of ranges approximating the ranges of the human voice, and at one time there were soprano, alto, tenor, and bass trombones. However, soprano trombones were no longer in use from the Baroque period (from the 17th century to the first half of the 18th century), and now trombones are often used only for tenor parts.
Incidentally, trombones have a range extending one octave lower than that of trumpets, giving trombones a somewhat wider range.

Various different trombones

Various different trombones

The range chart of the trombone

The range chart of the trombone

The standard trombone is the tenor trombone. It is used in a wide variety of musical genres, including classical, wind-instrument music, jazz, and pop music.

A tenor trombone (YSL-881UII)

A tenor trombone (YSL-881UII)

* Trombones are generally played by extending and shortening the slide, which changes the length of the tubing and thus the pitch of the sound. The slide needs to be extended farther and farther from the body to reach positions far from the body, so some unique technology is required to play the instrument smoothly. Tenorbass trombones, introduced in the next section, are designed with an extra attachment of tubing that allows the same pitch to be played without the player having to extend his or her arm so far.

Tenor trombones are equipped with a piece of tubing called an "F attachment" and feature an expanded bass range. Using an "F attachment" provides another benefit: the instrument can be played without having to use positions far from the body. This makes these instruments well-suited for beginners and smaller players. However, large bore tenorbass trombones require the player to be able to blow a lot of air into the instrument. They are therefore suited only for advanced players. Medium bore instruments are recommended for beginners.

A tenorbass trombone (YSL-882UII)

A tenorbass trombone (YSL-882UII)

Bass trombones feature an even wider tube than tenorbass trombones, and are equipped with one or two pieces of tubing to supplement its bass range. Other than the tube being wider, these instruments are generally identical to tenorbass trombones. However, they use a mouthpiece with a larger diameter to make it easier to produce lower sounds.

A bass trombone (YBL-830)

A bass trombone (YBL-830)

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French Horn Care and Maintenance

Care and Maintenance of a Horn
Basic care and maintenance

To properly care for the surface of the instrument, use a polishing cloth or other soft cloth to wipe away any human oils (such as fingerprints) and other dirt to the extent that you can reach.

There are three types of oil that are used for the various parts of the rotary valves in horns, tubas, and other instruments: rotor oil, rotor spindle oil, and lever oil.
The slides use yet another type of lubricant, slide grease (not to be confused with slide cream).
Oil can improve the lubrication of moving parts, reduce noise, and prevent friction and rust. The appropriate oil to use in order to allow for the necessary clearances between moving parts on the instrument is different for different sections. In the moment, it may seem that applying any kind of oil might be fine and not lead to any problems, but over the long term, using the wrong oils in the wrong places is not good for the instrument.

The functions of the three oils

  1. Rotor oil is used for lubrication between rotor surfaces and their casings. Because these components are relatively large and their clearances are small in relation to their size, a light oil is used.
  2. Rotor spindle oil is for the rotor spindles. This oil is fairly heavy because it is used in a place with a small diameter where there is little contact with air from inside or outside, and also because it must aid the rotation of the rotor spindles.
  3. Lever oil is used for the lever rod and joints. Because these are areas where force is applied in one direction, it is easy for them to wear unevenly, so a rather heavy oil is used.

Rotor oil is light and dries quickly, meaning that it is not very effective when applied to rotor spindles or levers. If heavier oil like lever oil is used in a rotor, the rotor will not move as freely (or quickly).
Do your best to understand the nature of these oils and the components they are applied to and be intentional about which ones you apply where. Only apply specific oils where they belong. By doing so, you will avoid unnecessary trouble, and you can expect your instrument to have a longer life.

Other tools and supplies for care

In addition to these three types of oil, it is also good to have a mouthpiece brush for cleaning the inside of the mouthpiece, flexible cleaners or specialized swaps for cleaning the inside of the leadpipe, and a cleaning rod for the slide.

  1. Remove the slide, and then apply rotor oil to the rotors as shown in the diagram.
    • Be sure to press the lever before removing the slide.
    • To prevent the grease and dirt in the slide from mixing with the oil, do not touch the oil applicator tip to the outer surface of the slide.
    • The tip of the oil applicator is made of metal, so when applying oil be very careful not to touch the rotor with it.
  2. Operate the lever to ensure that oil covers all parts.
 
Rotor
  1. Remove the slide, and let the water out.
  2. Apply oil to the rotors as you did prior to playing.
  3. Wipe down the outside of the instrument using a polishing cloth. If dirt or discoloration is noticeable, use the cleaning materials described in the next section.

*Note: A silicon cloth after cleaning will bring out the original luster of the instrument.

For polishing horns and other metal wind instruments, including the saxophone, polish that is appropriate for the specific material and finish of the instrument should be used. Lacquer polish should be used for instruments with a lacquer finish, silver plated instruments should be polished with silver polish, and metal polish should be used for instruments that have neither lacquer nor plating. Apply a small amount of the appropriate type of polish to a polishing cloth.
Since lacquer finishes are not very hard, they can be scratched up even just by wiping relatively gently with a polishing cloth. If there are any abrasive particles in the dust in the air, and those adhere to the surface of the instrument or get caught on the cloth before wiping, they can create scratches as well. The best way to wipe is to be gentle, applying only a modicum of pressure, and polish over a large area with a good amount of patience.

When using a swab to clean a horn, the process goes more smoothly if the swab is inserted from the wider end of the mouthpipe (the tube that the mouthpiece is inserted into). For both the first and second slides, the swab can be inserted from either end. Insert the swab weight-end first, and turn the instrument to help guide it through the pipe.
Once the weight comes out of the end opposite the end it was inserted into, the swab itself can be pulled through the length of the instrument's pipe by slowly pulling on the spindle end of the cord.
For the slides as well, insert the weight into the tube to send the string through until the place where the pipe turns, and then turn the slide upside down so that the other opening points downward, shaking the slide to bring the spindle downward and out the opening. Once the weight comes out of that end (the end opposite to where it was inserted), pull the cord to bring the swab through the tube.

There are two different types of swabs: S1 and S2. S1 swabs can be used on the first and second slides. They can be used on both F and B flat instruments. S2 swabs are for the mouthpipe.

 

Care and Maintenance of a Horn
Weekly care and maintenance

  1. Press the lever to release pressure so that removing the slides does not cause a popping sound.
  2. Wrap a polishing gauze around the cleaning rod so that the metal is not exposed, and insert it into the slide to remove dirt from inside.
  3. Wipe the outside of the slide to remove any dirt and then apply a small amount of slide grease. Move the slide back and forth to make sure that grease reaches all parts of the tube.
Cleaning the slides
  1. Remove the rotary valve cap, and apply a small amount of rotor spindle oil to the center of the rotor and the place that supports the spindle.
  2. Apply a small amount of rotor spindle oil to the rotor spindle and the rotor bearing. After applying the oil, replace the cap, and move the levers to work the oil into the rotor.
  3. Apply a small amount of lever oil to the bearing in the lever base.

*Note: Wipe off any excess oil.

Care and maintenance of the rotors

Make up a solution of brass soap, consisting of 10-15 parts warm water (30°C-40°C) to one part brass soap. Put some brass soap solution on the mouthpiece brush and put it into the throat to wash, and then rinse with clean water.

Twist a piece of gauze into a thin strip and run it through the narrow parts to clean them.

Care and Maintenance of a Horn
Monthly care and maintenance

Make up a solution of brass soap, consisting of 10-15 parts warm water (30°C-40°C) to one part brass soap.

  1. Apply some brass soap solution to the brush of a flexible cleaner, and then wash inside the tube.
  2. Once the dirt is removed, wash out the brass soap with clean water.
    After removing the excess moisture with a piece of gauze, apply oil and grease.
Wash the inside the tubes
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Trombone Care and Cleaning

Care and Maintenance of a Trombone
What do I need to do daily?

Preparing the slide

  1. 1. First, clean any dirt from inside the slide, then apply a bit of slide cream (or slide oil) on the slightly thicker end sections of the slide (the stockings). Do not use slide grease.

    Top: Trombone slide oil Bottom: Slide cream

    Top: Trombone slide oil Bottom: Slide cream

    Cleaning the dirt from the inner slides

    Cleaning the dirt from the inner slides

  2. 2. After applying slide cream, use a water spray bottle to moisten the slide sufficiently. If you used slide oil, just blow on it. You can use regular tap water in the water spray bottle, but it's better to use water without any chlorine in it, such as mineral water.

    After applying slide cream, use a water spray bottle to moisten the slide sufficiently.
    Water spray bottles (Top: Small; Bottom: Large)

    Water spray bottles (Top: Small; Bottom: Large)

  3. 3. Insert the inner slide into the outer slide, then slide the two sections back and forth several times to spread the cream evenly.
    If the slide becomes sluggish while playing, moisten the slide with the water spray bottle. A small water spray bottle in your pocket could come in very handy when performing!

    Insert the inner slide into the outer slide, then slide the two sections back and forth several times to spread the cream evenly.

Oiling the rotary valve (tenorbass trombones and bass trombones)

On tenorbass trombones and bass trombones, apply rotor oil to the rotary valve through the slide receiver.

When to use slide cream and when to use slide oil

Slide cream and slide oil both allow the slide to move more smoothly. Which to use is up to personal preference. The condition of your instrument and the amount of cream or oil applied to it can also change how it feels to play, so it behooves you to discover what amount you feel most comfortable with. Incidentally, Yamaha slide oil contains an anti-rust agent to prevent the inside of the slide from rusting.

How much slide cream to apply

As a rule of thumb, you should apply only enough cream that the slide is still visible beneath it.

Advice

If the slide becomes sluggish 10 to 15 minutes after you start playing, you should have the slide checked at the shop.
If the slide is dirty the slide oil won't be able to lubricate it well. Prior to applying slide oil, be sure to thoroughly clean any dirt or moisture from the outside of the inner slide and the inside of the outer slide. Be careful however not to apply any unreasonable force on the slides when doing so.

Cleaning the slide

  1. 1. Open the water key to remove moisture from inside the slide section.

    Open the water key to remove moisture from inside the slide section.
  2. 2. Wrap a polishing gauze around the cleaning rod so that the metal is not exposed, then clean inside the inner slide and outer slide. When you remove the cleaning rod, make sure there is no gauze left in the tube. Grip both the cleaning rod and gauze when pulling it out from the instrument. Always hold the slide brace when doing this.

    Wrap a polishing gauze around the cleaning rod so that the metal is not exposed, then clean inside the inner slide and outer slide.
    Wrap the cleaning rod with gauze, and rotate it slowly as you insert it into the outer slide to clean it.

    Wrap the cleaning rod with gauze, and rotate it slowly as you insert it into the outer slide to clean it.

Maintaining the exterior

The silver parts on a trombone's main slide and F attachment are surface-treated (finished) with the same lacquer as the other parts. The colors are different because the materials are different. The surface finish is the same for all surfaces. To maintain the exterior of the instrument, either wipe it gently with a polishing cloth, or polish it with a lacquer polish.
To clean dirt from a nickel-plated instrument (of if the lacquer is peeling and the surface is starting to rust), use a metal polish which includes a polishing agent. This will restore the luster of the metal.

What to do if the plating is peeling

If the paint (or plating) is peeling, you may notice copper rust (green-colored rust) on the bare metal surfaces of the instrument. Although you can remove it by polishing the instrument with a metal polish, if the rust forms on a part of the instrument that is often touched when playing it, you should have the instrument repainted (or re-plated) at the shop.

Care and Maintenance of a Trombone
Weekly care and maintenance

  1. 1. Wrap a polishing gauze around the cleaning rod so that the metal is not exposed, and insert it to remove dirt from the interior of the inner and outer tuning slide. When you remove the cleaning rod, make sure there is no gauze left in the tube.

    Wrap a polishing gauze around the cleaning rod so that the metal is not exposed, and insert it to remove dirt from the interior of the inner and outer tuning slide.
  2. 2. Use some gauze to clean dirt from the surface of the inner tuning slide, then apply a small amount of slide grease. This grease is for use on tuning slides only. Never use it on the slide. Slide the tuning slides back and forth several times to distribute the grease evenly.
    If you used a hard stick type of grease there will little stretching, and the film may not be even. In this case it could dry out easily. If this worries you, try spreading soft type slide grease (soft) with your finger over the entire surface.

    Use some gauze to clean dirt from the surface of the inner tuning slide, then apply a small amount of slide grease.
  3. 3. If the movement of the tuning slide is sluggish, there may be dirt, rust, or scratches on the surface of the inner tuning slide and outer tuning slide, or the tuning slide itself could be twisted (not parallel).
    If you thoroughly clean the tuning surfaces with polishing gauze and apply slide grease and the movement is still sluggish, have the instrument inspected and repaired at a shop.

Advice

Valve oil is for pistons. Do not use it on the tuning slide.

 

Cleaning the mouthpiece

Prepare a brass soap water solution. Mix 1 part brass soap with between 10 and 15 parts warm water (30°C to 40°C).
Soak the mouthpiece brush in the solution, then use the brush to clean the mouthpiece's throat. Finally, rinse the mouthpiece thoroughly with clean water.

Cleaning small parts

Don't forget to clean the small parts of your instrument. Use a piece of gauze twisted into a string to do so.

Cleaning the water key hole

If the water key hole is dirty, use some tone hole cleaner to clean it.

 

Care and Maintenance of a Trombone
Cleaning small parts

  1. Prepare a brass soap water solution. Mix 1 part brass soap with between 10 and 15 parts warm water (30°C to 40°C).
  2. Apply the solution to a flexible cleaner brush and use it to clean the inside of the instrument.
  3. After cleaning the instrument, rinse out the brass soap with water. Use some gauze to completely dry the instrument, then apply some slide grease (or slide oil) to the slide, and apply some slide grease to the tuning slide.
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