YEAR OF DIALOGUE AND NATIONAL RECONCILIATION

STUDENT:
COUNT HIGHWAY, C. LENNIN

THEME:
STRING INSTRUMENTS

AREA:
TRAINING ACTIVITY II

TEACHER:
NAVARRO MADRID, ALEXANDER

2018
 String Musical Instruments

History of string instruments

String instruments
String instruments or orthophones are musical instruments that produce sounds by
through the vibrations of one or more strings, usually amplified by means of a
resonating box. These strings are tensioned between two points of the instrument and are made
sonar by thumping, rubbing, or striking the string.

Prehistory
They originate from the bow (the weapon for shooting arrows), invented during the Paleolithic period (9,000
B.C.). It is created for hunting purposes, it also serves for war and at some point it is used.
to create a particular sound differentiated from wind and percussion instruments. In its
as nomads, they have achieved the popularity of the bow and arrow in many communities
more sedentary people who began to cultivate plants or raise animals who adopted the bow
more musically than as a weapon.

In ancient times
The lyre or Quitara, whose invention is attributed to the god Hermes, is an instrument that enjoys
great esteem among the Greeks. It consisted of a resonating box (a shell of
tortoise) from which two arms or mounts emerged (made of wood or with the
horns of an animal), which were joined at the top by a yoke; to it were tied the
cords that ran over a kind of bridge to the base of the box. In Latin, they were called
It is usually called testudo 'turtle'. Although it varies, the number of strings was usually
seven and were usually plucked with a plectrum. It is considered the national instrument of Sumer.
it represents the end of the fourth millennium before Christ. The standing lyre then became a lyre
of hand, whose first reproduced image comes from the Babylonian era (1800 BC). The
Greek lyres are similar to the lyre, but with a sturdier construction and a box of
resonance of wood in semicircular or trapezoidal shape. The zither is the instrument
dedicated to the god Apollo.

Middle Ages
In the Middle Ages, we find a large number of instruments, some will come from the
Antiquity and others will come from the East, introduced as a result of the Crusades.

Lute: String instrument with a backward tuning peg and a resonating body in shape
abombada. It was played with the fingers. It has Arabic origin.
The bowed vihuela or fiddle: Bowed instrument. It will be the prototype of the violin.
modern.
Organistrum or zanfoña: It is a three-stringed instrument that is played by turning.
a crank. THE HARP: Triangular in shape and small in size. It is played with both
hands, one presses the strings and the other shortens its length.
Harp: It consists of a resonating body on which the strings are stretched.
which are struck by fingers or beaten with sticks.
 Rabel: it is a bowed string musical instrument, similar to the violin, used in popular music.
in the Iberian Peninsula, probably brought by the Arabs to Spain and spread
especially by the Cantabrian mountain range.

Renaissance
We call musical instruments of the Renaissance those used for performance of
the cultured music. The family of viols (from the soprano viola to the violon) was one
from the main means of domestic music. The family of violins was created in the
sixteenth century as an alternative to viols. They had a more powerful and penetrating sound, but they were
considered as more common instruments, were usually used to accompany dances. The lutes,
of plucked strings, half pear-shaped, double strings and tuned like violas da gamba,
they were used as solo instruments. In Spain, the vihuela de mano was used, very similar,
but in the shape of a guitar. The harp, on the other hand, was particularly important as well
in Spain.

Technical Characteristics of Musical Instruments of

Rope
In the Hornbostel-Sachs classification, which is quite commonly used today, these instruments
they represent the class of chordophones identified by the codes that begin with the
number 3.

These instruments have the oscillator which, when activated, produce waves in the
fundamental frequency. Later, these waves undergo modifications in the box of
resonance, then producing the characteristic sound of each instrument.

String instruments, such as the guitar, produce sounds from the vibration of their strings.
strings. When it vibrates, the string of those instruments causes its body to vibrate, producing the
audible sound.

Since the area of the box is large, when vibrating, it can produce sound waves with more volume.
higher than those produced solely by the vibration of the string, functioning as a box
of resonance. Each string of a guitar can vibrate producing standing waves,
always having a knot at the ends where the rope is fixed.

The mode of vibration with the lowest frequency is called the fundamental mode or first harmonic.

The fundamental frequency of a stretched string is a function of its length L, of its

density ρ, of the area A of the cross-section, and of the tension T to which it is subjected. This
frequency can be calculated using the expression:
In this way, each string of the guitar can be tuned thanks to the variation of its tension.
This is done through the pegs (pieces that adjust the tension of the strings) and are
present in the tuning pegs. When stretching the string further, the vibration frequency becomes higher,
that is to say, the tone becomes sharper.

Other features:

They are melodic or linear instruments.

They produce simple notes or specific sounds.

Allows the obtaining of artificial harmonies.

The sound is produced by the vibration of the strings amplified by the body.
wood resonance.

The strings are stretched from one point of the instrument to another.

Sounds are produced by rubbing, plucking, or by means of percussion.

The longer the strings, the lower they sound, and the shorter they are, the higher they sound.
The more tense the string is, the higher its sound, and the less tension there is.
it's more serious.

Classification of String Instruments

String instruments can be divided into three groups, according to their shape.
produce the vibration:

1. Bowed string instruments

The classification instrumentsbowed stringthey are a group of instruments that

they produce their sound by rubbing against thewith stringsaarchtense made of horsehair.
The strings are set in vibration by being rubbed with a bow, which is a rod of wood.
flexible and slightly curved, with manes from one end to the other whose tension can be adjusted.
The strings are arranged over a soundbox equipped with holes.
This section includesviolinsviolas, cellos, and double bass, as well as all the
instruments of the family, such as the viola da gamba. The differences because the latter has
frets that indicate the tuning zone on the neck. All these instruments are equipped
of great sensitivity, capable of producing the most delicate nuances of timbre and volume.

a. Violin

The violin is an agile instrument, with a bright and tuned sound, it is advisable to treat it well.
acoustically with certain reverberation. Its directional characteristic is a function of the
frequency, radiating maximum energy at high frequencies in the transverse direction
to the detriment, while at low frequencies it has a more or less characteristic
directional. The violin case has flattened ends, ending
perpendicular to the handle, and its symmetrical openings are in the shape of f.
b. Viola

The viola, compared to the violin, is slightly larger in size producing a sound
sweet, soft, and somewhat dull, it needs acoustic treatment with reinforcement panels.
In the viola, the resonance box is more elongated than that of the violin.
at a sharp angle on the handle, with C-shaped openings. The lateral inlets
they are more accused in the violin than in the viola, which has a flat back and is a bit larger
that one. The bridge is between the openings.
The physical differences between the viola and the violin create some distinctions between the two instruments.
distinct sounds with clear superiority of the violin, although it only has four strings and
the viola six. Its radiation characteristic is similar to that of the violin, while its
Dynamic and directional range have values similar to those of the violin.

c. The double bass

The double bass is the instrument of this group that has the lowest pitch and of
larger dimension, differing from the others in that its tuning is in fourths in
instead of in fifths. It produces a full and very low sound, requiring treatment.
acoustic that provides a remarkable reverberation.
The actual sound of each note is one octave lower, it has a dry and harsh timbre,
being an instrument of little agility, executing the chords with some difficulty,
it is not a solo instrument, although it has great importance in music
orchestral, providing strong support in the bass.
2. Plucked string instruments

The plucked string instrumentsthey are those whose sound is the result of pinching or
strumming the strings to produce a vibration. In this classification, we also find
instruments with or without a neck, and with frets or without them. Within this group you find
the chromatic harp and the pedal harp, harpsichord, guitar, mandolin, clavichord, ukulele of
Hawaii, a string instrument from China, koto from Japan, sarod and vina from India, lute, theorbo, spinet.
lira, balalaika, and zither. The harpsichord, the lute, and the vina.

a. The harpsichord

It is a keyboard instrument, in which the strings are plucked by plectrums, using a

mechanism activated by a keyboard. In the harpsichord, each key is connected to
a small piece of wood, called a martinete, where the plectrum is fixed. When
when the key is pressed, the pick strikes the corresponding string. Its sound is dry, if
it is compared to that of the piano. It is a magnificent accompanying instrument, with
analogous directional characteristics to those of the piano.

b. The Lute

And the theorbo were in a way precursors of the current guitar, which has reached
its maximum development in Spain. The degree of amplification of its sound can be
control in such a way that when the sound is produced by striking the string, it sounds
very soft. While it vibrates, its loudness can be increased by such a means and while
 hard and holds such amplification, the hand of the performer can slide over
the string to other sounds and thus achieve melodic undulations. Its maximum radiation
Energy is carried out in the transverse direction to the bridge of the box and the gap.

c. The vine

The harp is one of the oldest musical instruments made up of a series of

strings of different lengths and tensioned over a frame, representing each string
a certain note. In the harp, the strings are put into vibration by being plucked with
the fingers of both hands.

3. Percussion string instruments

The struck string instruments produce sound by striking a string on

tension. This group includes the clavichord and cimbalom.

a. The harpsichord

The clavichord was a precursor to the piano, in which the strings are struck by
below, through a metal plate, remains in contact with the string. This
it allows the performer to make the note vibrate after striking it
the string and, with a greater pressure, slightly raise the tuning of any.
of the notes, to give it, thus, a greater intensity and relief.
 b. The cymbal

The cymbal is probably an instrument of Eastern origin. Its primitive forms,

"santir" are known in Iran, Arabia, and the Caucasus. The system
modern chromatic is used today by the Gypsies of Hungary. It is played
this instrument striking the string with two mallets. They are possible in the same,
various variations in its timbre, as well as a wide dynamic range.

Functioning of String Instruments

The operation of string instruments, also called chordophones, is based on the

vibration of a series of strings tensioned at both ends. All of them have
a resonance box made of wood to enhance its sound. As has already been
Commented, there are three types of chordophone instruments based on the method of making them vibrate.
the strings: in plucked string instruments, the fingers are used (guitar, harp, lute, bandurria,
mandolin, banjo, timple); if a bow is used, these are bowed string instruments
(violin, viola, cello, double bass, Ravel); and when the sound is produced by striking
about some mallets, we are talking about struck string instruments (hammered dulcimer).

Of the two main types of vibrations that can be produced, longitudinal and
transversals, in the strings only the second of them is of interest, since it is the way in which
the musical strings vibrate.

The greater the weight, length, and thickness of a rope, and the lower its tension,
the smaller the number of vibrations per second, the deeper the sound will be
that they produce, occurring the opposite in reverse.
Musical strings can be of fixed pitch and variable pitch. The first group
belong the strings that only produce a sound, as a consequence of their length
constant (piano, harpsichord, clavichord, harp, cittern, etc.), while the second group
belong to the same string, which can produce various sounds, since the performer
by moving the fingers, alter at will the playing length of the string (violin,
violin, cello, double bass, etc.). In either case, the tuning of the string
it depends on the tension to which it is subjected, which is regulated by more or less
pressure of the plug to which it is attached.

Great Exponents
On the guitar
The guitar is a stringed instrument that has a wooden body and a neck with
frets and 6 strings. It is one of the most used nowadays due to its ease of acquisition and
transport. It is used in many musical genres such as rock, blues, chill out, classical and
flamenco. It is not known for certain where it came from or when, but there are records from the year
1000 B.C. in the north of Turkey in low reliefs, likewise in Egypt. There are various types of
guitar, such as acoustic, flamenco, electric, etc. Among its main exponents are:
Andrés Segovia, Abel Carlevaro, Alirio Díaz, Naciso Yepes, Julian Bream, John Williams
Agustín Barrios Mangoré.

Andrés Segovia Torres

Marquis of Salobreña(Linares,Jaén,February 21
from 1893 Madrid,June
- 2, 1987) was
aclassical guitarist Spanishconsidered as the
father of the modern classical guitar movement

He knew the guitar since he was a child, probably in the

town of Villacarrillo, near the city of
Linares, where he was born but left very soon
and to which it did not return until the 1950s. It was
baptized inJaén,at an indeterminate age one
moved to Villacarrillo. He then went to
studying guitar in Granada. It is possible, although this
It cannot be stated with certainty due to lack of more.
data, that your first foray into the world of
guitar coming from the hand of [Link]
embargo, very soon, from her early adolescence, she chose to explore other
possibilities for training asself-taughtin the tradition of classical Spanish guitar.
He made his first public appearance in Granada at the age of fourteen and, with just a few more,
offered in Madrid his first concert, in which he performed, among other pieces,
transcriptions for guitar ofFrancisco Tárrega.
Knowing that piano concertists sometimes rent the instrument, and eager to
to find an instrument that would suit his purposes, he went to Madrid to give that
concert at the guitar builder's establishmentManuel Ramírez,intending to
to propose to the owner that he would rent an instrument to him. After trying it out and rehearsing.
for a while the music he had prepared for the recital, the amazed Ramírez...
I asked that you accept the chosen guitar as a gift.
As he progressed in his career and offered recitals to increasingly larger audiences,
he discovered that the existing guitars did not produce enough volume to reach
to the public in large concert halls. This encouraged him to search among the advances
technological tools to try to improve the natural amplification of the guitar.
Working together with the manufacturers, helped design what we know today in
day likeclassical guitarmade with a higher quality wood and with string ofnylon.
The shape of the guitar was also modified to improve theacoustic.
He made contributions to the technique of the instrument, such as plucking the strings at the same time with the nail.

and the fingertips of the right hand and place it in a vertical position with respect to
to the strings, which increases the force when touched and as a result increases
the volume of the guitar which is an instrument a bit limited in this aspect.

2. Abel Carlevaro

Abel Carlevaro (Montevideo,December 16of1916- Berlin,July 17of2001it was a

outstandingguitaristpedagogueycompositorUruguayan.

Son of the doctor Juan Carlos Carlevaro who was

guitar enthusiast and of Blanca Casal Ricordi,
At the age of five, he/she started his/her guitar studies.
classical with the teacherPedro [Link] more
This last one also started the instruction in the afternoon.
of his brotherAgustín Carlevarowhich would be
considered in Uruguay as the best soloist of
guitar intango.
Later, he studies and establishes a relationship with the
famous guitaristAndrés Segoviathat in that
then resided inMontevideo,with which
works during nine years.
StudyharmonyycounterpointwithJosé Tomás
Mujicaporeight years y
in parallelorchestrationwithPablo Komlosfor four years.

In1942Carlevaro is publicly introduced by Segovia in the main hall of

concerts in Montevideo, with resounding success. The following year he is invited byHeitor
Villa-Lobos, to travel to Brazil. For several months, Carlevaro was in Rio de Janeiro.
studying with the Brazilian composer his works for guitar, in particular several of his
Twelve Studies. Premiered in Rio, in the presence of Villa-Lobos, his Preludes 3 and 4 for
guitar. In1948With the support of the Uruguayan government, he made his first trip to Europe.
offering numerous concerts inSpainwhere he also filmed a documentary movie.
 He also performed in Paris and London, where he recorded his first album. After a
long stay in Paris, where he became friends with composer Maurice Ohana and participated
in the creation of his first work for guitar and orchestra, he returned toUruguayin 1951.
Just returned to Europe in1974 and offered her first concert of this second stage
inParis,in the [Link] 1975, invited by Radio France, he spreads in Europe the
foundations of his New Guitar School. From then on, he traveled to Europe until
two to three times a year, providing concerts and masterclasses, as well as conducting
international seminars. He also did the same throughout America, both South and North, and
he/she performed several times in Taiwan and Korea.

In1979 theBarry Editorial publish your bookGuitar School. Theory Exhibition

Instrumentalwhich is subsequently translated into Chinese, Japanese, Korean, French, German
in English.
InParisin1984presents the design of its newguitar without a mouthwhat it aimed to establish
the foundations of a more logical construction of the instrument, according to its conception
orchestral of the same, prioritizing the guitar's ability to provide nuances and colors
Timbres with greater richness and simultaneity.
The last decades of Carlevaro's life were marked by his frequent tours.
to countries in Europe and America. For having been one of the most influential figures in the
the world of the guitar in the second half of the 20th century, received periodic invitations,
both as a performer and as a teacher, to conduct concerts, offer
conferences and integrate international tribunals. In the midst of that fervent activity, he passed away.
in Germany at the age of 84.
Among his renowned works, it is possible to mention his Concierto del Plata (guitar and
orchestra), Fantasia Concertante (guitar, strings, and percussion),Concert No. 3 for
guitar and orchestraAmerican Preludes, Cronomías (sonata), Studies "Homage to
"Villa-Lobos" and his series of 20 Microstudies.

3. Wolfgang Amadeus Mozart (1756 –1791). Classicism

Amadeus Mozart was a child prodigy who at the age of six

years I was already an advanced violinist, but
he had a short life full of economic hardships.

Despite everything, in his 35 years of life, this genius

from the music composed more than 600 pieces. His work
it covers all genres: symphonies, divertimentos,
sonatas, chamber music, concerts,opera and
church music. His latest composition, a Mass
of Requiem, remained unfinished, as an ailment
renal ended the life of Wolfang Amadeus in
1791. Only a few friends went to the funeral of
Mozart, who, however, had a great influence.
influence on classical music composers
posterior.
4. Marin Marais
Born in 1656 and died in 1728, Marin Marais was a
French composer and viol player, disciple of Jean-
Baptiste Lully and Monsieur de Saint-Colombe.

Marais learned to play the violin so quickly that he surpassed his

master in just six months. He soon joined the Opera of
Paris and began his career as a composer and virtuoso
pioneer of the viola. In 1676 he was hired as a musician of
the court of Louis XIV of France.
He composed more than 600 works for viol (alternative name
of the instrument) grouped into 5 books of pieces, very
imaginative and varied.

5. Karl Friedrich Abel

Born in 1723 and died in 1787, K.F. Abel was a

German composer and viol player of the classical period, being he
the greatest exponent of that instrument at that time.
He was a chamber musician for Queen Charlotte in England.

Abel was a disciple of J.S. Bach in Leipzig and formed a friendship.

with his son Johann Christian Bach, with whom he starred
a long series of important concerts in London