RU2253909C2 - Viola - Google Patents

Abstract

FIELD: musical instruments.

SUBSTANCE: device has supporting rod, extending from the body and locked by a latch in button bushing, and as a substrate cello substrate is used.

EFFECT: higher efficiency.

2 cl, 2 dwg, 3 app

Description

The invention relates to acoustic instruments of the violin family and has a scope in musical performing arts. The prototype of the invention is selected viola, a stringed bowed musical instrument in the contralto range with tuning, by definition, a quint below the violin [1, 2]. Despite its modern indispensability, viola, like viola art in general, retains a number of historical shortcomings:

1) the impossibility of educating children, because shortened viola due to their unaesthetic sound are not produced anywhere;

2) the need for selection of adult violinists according to the anatomical data of their hands in order to switch to alt, which sharply limits the composition of violists;

3) adjusting the alt parameters to the physical data of the artist, because lengthening the strings and the body of the instrument increases its consonance, and vice versa;

4) the flaws in the sound of the strings La 'and Re' (according to the conclusions of most recognized musicians);

5) the special difficulties of the game, in the accessibility of high registers and in the performance of a number of strokes;

6) the difficulty of self-control of performance due to bone high-speed conduction of sound to the inner ear when the chin presses the alt to the shoulder, as well as its proximity to the ears (a common flaw with the violin);

7) occupational diseases from playing the big viola (bursitis, tendonitis, fibrositis, hearing loss, neck dermatitis, etc.);

8) the relative limitations of the repertoire, especially of the solo, as well as factory production of training models, due to the sum of the shortcomings (described above 1-7).

There are known constructive attempts to mitigate some of these shortcomings in the form of:

1) large viola ("viola viola"), which sounded juicy and without a nasal overtones, made by G. Ritter to his outstanding physical data, which excluded the instrument from practice [2];

2) large viola with a sloping shoulder ("Paradox") T.F. Podgorny [3, 4] and pear-shaped viola L. Tertis [5], who improved the sound and simplified the game in top positions;

3) optimization of viola by F. Zeuringer [6].

These improvements are only a partial compromise, as for a reference alt, corresponding to the definition of its range, the method of execution on the shoulder ("a braccio") creates an insurmountable obstacle, which excludes the possibility of constructing a widely used instrument with optimal acoustic parameters.

The purpose of the invention is to eliminate the above disadvantages of viola with giving it additional advantages. The goal is achieved by fulfilling the acoustic regularity according to which the settings of the strings of the reference violin and viola should be correlated as tonic to subdominant: the frequency of vibrations of viola strings, by definition tuned to a fifth below the violin, is 1.5 times lower than the violin, for which it is necessary to extend their working part also 1.5 times [1].

The goal is achieved by solving the main 4 related tasks. The main objective of the invention is the acoustic optimization of the length of free strings and, accordingly, the viola case, which is achieved by their extension to a ratio of 3: 2 with the corresponding parameters of the reference violin (for example, the parameters of A. Stradivarius violins [7]). The remaining related parameters of the main sounding parts of the instrument adequately increase. The strings and body of the instrument are 1.24-1.26 times longer than the average alto, which excludes the possibility of performance on the shoulder for an adult string without outstanding physical data. Failure to comply with the exact fifth ratio of these parameters negatively affects the emerging musical advantages of the instrument. Hence, the conjugate task of the invention is to replace the “a braccio” method of the viola playing with the “a gamba” method (instrument at the knees) with a performance technique similar to cello, in order to be able to play the instrument with the parameters of the main sounding parts 50% more violin-like reference ones. Therefore, for an optimal setting for the growth of the musician and an inclined emphasis on the floor, the instrument is equipped with a supporting spire that is pulled out of the housing and a sleeve with a lock in the housing button. The objective of the invention also consists in arranging the strings back to the altola order relative to the bow blocks in the artist's right hand, i.e. 1-Do, 2-Sol, 3-Re ', 4-La', to bring the playing technique closer to the cello with the “a gamba” method of sitting. The latter does not limit the scope of the claims of the invention to the alto order of stringing relative to the right hand of the playing artist, i.e. 1-La ’, 2-Re ', 3-Sol, 4-Do. According to the invention, the violin stand of the Stradivari alta model is replaced by a cello stand of the Amati model due to the increase in the details of the instrument to sizes approaching those of the 1/8-cello.

Based on the alt range of sound and the cello way of playing “a gamba”, the new instrument of the violin family of the alto type is called “Altgamba”, or “AltoGamba”.

The instrument has a free string length of 492-498 mm and a deck length of 539-547 mm to optimize acoustic properties.

The following materials explain the invention and show the achievement of its objectives, which are illustrative and do not limit the scope of its claims.

In FIG. Figure 1 is a frontal drawing of an altamba on a spire, the classical design of the structural details of which corresponds to those for a cello. External parts: A, instrument: 1 - strings (reverse or direct altovy arrangement), 2 - fingerboard, 3 - head, 4 - pegs, 5 - nut, 6 - upper deck of the case, 7 - eph, 8 - cello stand, 9 - subheading, 10 - shell shells, 11 - spire in the sleeve with a lock in the button (significantly pushed into the case); B, bow: 12 - cane, 13 - hair, 14 - block, 15 - screw. Altgamba details (Fig. 1) interact and consist of “A” - a tool including: a body formed by the upper deck 6 with the efs 7, connected by the shells 10 with the lower deck, neck 2 on the neck with head 3, alto strings 1 lying on nut 5 and cello stand 8 (free strings - their length is between 5 and 8), pulled by pegs 4 and attached to the neck 9, connected by a vein with a button, equipped with a spire 11, pulled out of the body sleeve with locking lock; and “B” - a bow as a string vibrator, including: a flexible cane 12, a pulling tape of hair 13, a block 14 with a screw 15 that regulates the tension of the hair.

In FIG. Figure 2 shows Altgamba staged as "a gamba". The viola strings on the cello stand of the Amati model are located in the reverse or direct alto order to the bow block in the performer's right hand. The photo from Appendix 1 illustrates the altgamba model constructed by the applicants, the method of playing “a gamba” on it, and its dimensions relative to an adult performer. For a child, the staging of an all-age altgamba is regulated by the height of the fixed spire and the size of the bow, based on his physical data. For adults of both sexes, staging a universal altgamba follows the same principle.

In the table. 1 shows the main parameters of the developed altgamba model. In the table. 2 summarizes 10 important features that characterize and distinguish the design of the altamba from the closest viola family. In the table. Appendix 3 3 gives a summary of 16 characteristics that demonstrate the achievement of the objective of the application. The performance on the altamba by the “a gamba” method is much easier and more convenient than on the viola of any size and on the cello (see points 3, 4 and 11), because the instrument is smaller than a 1/8-cello and with lighter alto strings, weaker than the cello (pp. 1, 4 and 9). When comparing with alt, the musical capabilities of the altamba are significantly increased (paragraphs 7-11): the range extends by at least an octave with the full accessibility of all registers, string tones lose well-known viola flaws with the extension of their sound palette, and complex touches are simplified. As a result of the ergonomic way of playing altgambists with relatively small all altgamba parameters, the risk of occupational diseases characteristic of altists and cellists (items 4, 12 and 13) is minimal or not expected.

Tab. 1 BASIC PARAMETERS OF TRAINING ALTGAMBA (mm) Total length (without spire) 900 Working string length 495 Case: length 540 width top 247 bottom 308.4 thickness (max.) 90 Decks: length 543.2 +/- 3.5 waist 163.5 width top 249 bottom 310.5 Stand: less than for 1/8 cello

An example of the use of the invention is the arrangement of the viola sonata I. Brahms, opus 20, No. 1, made by co-author A.E. Safronov for performance on the altamba with the string binding procedure opposite to the altovoy (Appendix 3).

Tab. 2 Characteristics of the ALTGAMBA and its differences from the VIOL Altgamba (violin sem.) Viola da gamba (viola sem.) 4 strings 5-7 strings Fifth pitch Quartz-Tertz system Rounded top stand Almost straight top stand Fretless vulture Fret vulture Convex lower deck Flat bottom deck Longitudinal spring under the top The same + transverse springs deck on the lower deck Resonance Holes - Efs The same in the form of a sickle, brackets, snakes Top straight housing Pointed body Side flanges - acute-angled The same is obtuse. Sound may be loud Impossible loud sound

A new quality of the altamba for the violin family is the combination of stability, consonance of the entire contralto range and the age-old applicability of its universal design. This unique combination of the advantages of altgamba justifies the possibility of the emergence with its help of a universally absent trend - “children's pedagogy of alt art” (which adds about 10 best years to the period of vocational training of the altgambist / altgambist), carried out by cellists, quickly and easily mastering a full-voiced close instrument. It also opens up the possibility of serial production of Altgamba in the form of an inexpensive training tool with stable parameters (Tables 1 and 2; and Table 3 as Appendix 2).

Literature:

1. L.A. Kuznetsov. Acoustics of musical instruments. Directory. M., 1985.

2. S. Ponyatovsky. Alto. M., 1974.

3. T. Podgorny. From the notes of the wizard. M., 1960.

4. S. Ponyatovsky. History of viola art. M.-L., 1984.

5. L. Tertis. My viola and I. London. 1975.

6. F.Zeyringer. The evaluation of violas. 1980. In: Viola (Yearbook of the Int. Viola Res. Soc., 1979).

7. V. Stakhov. The work of the violin master. L., 1988.

Claims (3)

1. Viola stringed musical instrument, which includes strings interacting with each other, stand and case with a button in the lower shell, characterized in that it contains a support spire that is pulled out of the case and fixed by a lock in the button sleeve when the instrument is in the "a gamba" position and a cello stand was used as a stand, while it has a free string length of 492 ÷ 498 mm and a deck length of 539 ÷ 547 mm to optimize the acoustic properties of the instrument. 2. Alt according to claim 1, characterized in that the strings are arranged in the sequence 1-Do, 2-Sol, 3-Re ’, 4-La’. 3. Alt according to claim 1, characterized in that the strings are arranged in the sequence 1-La ’, 2-Re’, 3-Sol, 4-Do.

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