Harmonic Design Principles Of The Italian Masters
People will often ask what makes bowed instruments different one to the next. There is a great deal of mystery and romance around violins, and over the years good science is not necessarily what drives the research. People have often attributed the sound of the great master violin makers to one thing or another like the seasoning of the wood, varnish, sealer, etc. To say that one element is what makes those instruments great, is like saying that it is the fuel injectors that make a great car.
A violin or other bowed instrument is a system of harmonic relationships. What makes a great instrument is when all of the possible harmonic relationships are working together in a harmonically pleasing way. The more that a maker understands about this, the better the final instruments are likely to be. But this means knowing how to adjust, in very subtle ways, the coupled vibrational frequencies that constitute good sound.
Most people selling bowed instruments, are not actually well schooled in these harmonic design principles, as modern violin making is more of an industrial era process of minute measuring and then fabricating according to specifications. This is German violin making. The principles that Amati understood about building wonderful violins, and that Stradivari later incorporated as well, were lost after the guild system in Italy was broken up by Napoleon. Modern Italian violin making today is simply German violin making transplanted to Italy.
I have been fortunate to work with some of the great modern researchers, including Carleen Hutchins, and in recent years Geary Baese. My association with one of the best modern violin makers, Howard Needham has also been extremely helpful. The result is that I am able to do adjustments that greatly affect the sound of the instruments that I sell, starting with the bridge and sound post, and then working with additional subtle, and lesser known adjustments that were taught to me in confidence as proprietary methods.
The proof is in the playing, and I invite you come in and compare what I sell. I think you will be very surprised what your money can buy you here!
A violin or other bowed instrument is a system of harmonic relationships. What makes a great instrument is when all of the possible harmonic relationships are working together in a harmonically pleasing way. The more that a maker understands about this, the better the final instruments are likely to be. But this means knowing how to adjust, in very subtle ways, the coupled vibrational frequencies that constitute good sound.
Most people selling bowed instruments, are not actually well schooled in these harmonic design principles, as modern violin making is more of an industrial era process of minute measuring and then fabricating according to specifications. This is German violin making. The principles that Amati understood about building wonderful violins, and that Stradivari later incorporated as well, were lost after the guild system in Italy was broken up by Napoleon. Modern Italian violin making today is simply German violin making transplanted to Italy.
I have been fortunate to work with some of the great modern researchers, including Carleen Hutchins, and in recent years Geary Baese. My association with one of the best modern violin makers, Howard Needham has also been extremely helpful. The result is that I am able to do adjustments that greatly affect the sound of the instruments that I sell, starting with the bridge and sound post, and then working with additional subtle, and lesser known adjustments that were taught to me in confidence as proprietary methods.
The proof is in the playing, and I invite you come in and compare what I sell. I think you will be very surprised what your money can buy you here!