1. Instrumental resonance characteristics can be used to improve intonation. Frank Denaro, Dept. of Biology, Morgan State University, Baltimore MD
One-sentence Description: The resonance characteristics of the instrument can be identified by listening and used to improve intonation.
Making you loudness chart
For a chart of the chromatic notes in two octaves on each string see fig. 4. An “S” by a note indicates that it is a resonant note due to Sympathetic String vibration. An “R” by a note indicates it has the possibility to be resonant due to the body Resonances such as Wood prime, Main wood, or A(0)-Hemlmholts, A(1)-body length mode etc. The frequency of these may vary from instrument to instrument. By use of your clip-on pitch indicator it will be possible to determine if those pitches are in tune or somewhat sharp or flat. You can find some of these pitches around, C, C#, D, B. While the S notes can be found at G, D, A, E. To map your instrument use the chart in fig. 4. If you play viola or ‘cello the chart has also been extended for your use. First check the string resonances and practice listening for them. Then try to find other resonances.
Method for Finding the Resonant notes
This can be done by playing each note. Use a generous but very slow vibrato. Where you find a peak in dynamic response put a mark on a piece of tape on your finger board. (There it is again). But in this approach you are marking on the tape the point of greatest resonance. For the string resonances, be sure not to dampen the sympathetic open strings. When you have completed this you have made a map of the dynamic response of your instrument.
What happens if your resonant notes are sharp or flat?
The resonances that are dependent on the string resonances, will depend on your tuning. Therefore these should always be in tune. The other resonances depend on the resonant characteristics of the body of your instrument. You cannot change these, but being aware of them will help you adjust your finger for the most accurate pitch.
How to use this information
Etudes: You can use this information to make etudes to practice finding these tones. For example, in first position, the first note in the position gives students a problem. That is why we see the tape for this first note. But the first note is A on the G string and E for the D string, both resonant notes. So the first note in first position is identified. For B on A, and F# on E remember these are parallel 5ths to the A and E.
Targets: In the upper position these tones can serve as targets for shifting or extensions. For example the octave of the string is helped by the harmonic node but each string has resonant notes associated with that position. On G it is A; D it is E & G; on A it is D; on E it is G, & A.
In Music: Identifying these tones in music you are learning: When you study a piece of music you can identify these tones so you will have a reference for intonation and position accuracy. You will find that each position has several tones so you will always have some references. These resonant notes are probably what make third position so congenial. But they can be found along the entire string from the lowest position to the highest position.
Role in string music composition: It is of interest to note the C. M. Hutchins pointed out that Mozart wrote very well for the viola by exploiting its resonances. We also note that it was Beethoven, himself, that used all the obvious resonant tones to construct the entrance to his violin concerto! (The tones being A,#C, E, G etc.).
Violin Literature: Please see reference 3 for a statistical analysis of the most frequently used notes in the violin literature. You will note that these resonant tones are among the most frequently used notes.
Tone color: This is another reason why different keys have different “colors”. You have more or less of these tones because of the key.
Resonances are on all the instruments of the violin family: Of course they exist in the other instruments of the violin family. However, the placement is somewhat different in the viola, cello and bass. For the cello and bass you may have to use a particularly wide vibrato but the principle is the same. Once you become familiar with these notes, you will not be lost, without an external pitch reference.
Familiarity with these resonances may also come into play when you are purchasing a new instrument, as you may develop certain expectations.
Figure 4 CHART OF THE RESONANCES
Notes in red with an S, indicate tones that are resonant due to sympathetic string vibration. The blue notes are resonant tones due to how your instrument was constructed (violin). You may have only one note in that group which can be identified as resonant. In addition, you have the harmonics at the octave which can be identified (in green with an H by them). You may also have “trouble” notes. These are notes that do not sound well. You may have to work harder to make them louder. It is important to map them as well. To the right of each of the notes you can put in your finding. With this information you can begin to practice identifying these notes accurately in your playing.
Background
The violin presents the musician with many simultaneous challenges. While bowing is considered particularly problematic for both beginners and advanced players, intonation is a constant challenge for the beginner. The solution that many teachers use at this early stage is the tape on the finger board. This approach appears to be a world wide practice. See current news photo, Figure 1. Of course, this helps in the early stages. However, there are additional aides that can be introduced at early time points. Moreover, the method presented here will be a help throughout the players career.
One aid or approach to improve intonation is to understand the resonant characteristic of your instrument. Since Frederick Saunders and Carleen Hutchins demonstrated the significance of the loudness curve, much violin research has been undertaken using this helpful concept (1). But it also has a practical significance for the player. See fig. 3 for an example of the Loudness curve. The curve is produced by playing each note as loudly as possible. This reveals which notes have greater dynamic levels compared to other notes. But these dynamic changes can be identified even when playing your music. These dynamic changes are a characteristic of the violin due to its construction. Listening carefully to the dynamic variability among notes can help with playing the right note (ie frequency) accurately. This is because that dynamic variability produces increased saliency for some notes. In many cases these resonances correspond to exact pitches. As a result, the dynamic response of your instrument can be used as a direct intonation guide. These resonances are the result of sympathetic string resonances. Others depend on how your instrument was made. With a clip-on frequency tuner, you can identify the frequency of these resonant notes. See fig. 2. for an example of such clip on tuners. You can then map out these louder notes. See fig. 4. For the chart you can us to make your loudness map.
Violin
Viola
‘Cello C G D A E C# G# D# A# F
A-S
E-S
B-R? F#
C-R?
G-S
C#-R?
D-S
C#R? B
G-H
D-H
A-H
E-H
Fig. 1
Fig. 2
Fig 2. Clip on frequency tuners are a convenient way to accurately identify your resonant tones.
Fig 1. All over the world beginning violin students, use the tape on the finger board to locate notes. (NY TIMES, International Section, Sun., 9/20/15, Emrah Gurel, Associated Press.
“A migrant boy near Edirne, Turkey”, In report by B. Dzhambazova
Loudness curve
Fig. 3
Conclusions
References
All violins have notes with increased saliency due to their dynamic response.
These notes can be identified under normal playing conditions.
Because they correspond to in tune notes, they can be used as pitch references.
Intonation can be improved by identifying them in etudes and music.
They may vary a bit from instrument to instrument, but the can be mapped.
1. C. M. Huchins, Instrumentation and Methods for violin testing. J. Audio Eng. Soc., 21(7), (1973)
2.F. A. Saunders, The mechanical Action of Violins. J. Acoustical Society of America, 9,81-98,1937.
3. Hideo Itokawa and Chihiro Kumagai, On the study of the violin and its making. Report of the Institute of Industrial Science,University of Tokyo, 3(1), 5-19 (1952). Translation to be found in: Carleen M. Hutchins Ed., Benchmark Papers in Acoustics/5, Halsted Press, 1975
Cited from “The Physics of Violins” by C M Hutchins,
SciAmcn, Nov 1962, p. 87])
(Cited from “The Physics of Violins” by C M Hutchins,
Sci. American, Nov 1962, p. 87)
As Saunders pointed out long ago, those violinists who think their instrument produces an even dynamic response throughout its range, are mistaken. His early research on the instruments of the violin family reveal that every string instrument of the violin family has notes that are measurably louder or softer that others. This is demonstrated by CM Hutchins in this loudness curve.