Violin’s inner mold, an essential factor in developing the idea of violin

1 June 2019 – 11:20 pm Posted in Instrument & Playing, Uncategorized

Violin inner mould, an essential factor in developing the idea of violin
RZW

A part of the secrets of the masterpieces from the golden era lies in the special design of the instruments, as a result of a profound insight to and awareness of the significance of the precise calculation of the various components of the object of arts being created, such as making a violin or a bow.
Golden age luthiers, such as Amati, Stradivari & Guarneri, each had their own gold standard method to develop the geometric pattern of their instruments.

Today, especially in the case of the remaining golden age instruments, we are faced with the fact that extracting the correct pattern from the standpoint of science, geometry and aesthetics is more difficult than ever due to aging, certain inaccuracies in craftsmanship of instruments, and the distortions which deliberately or inadvertently affected the available resources.

Then again this ‘piece de resistance’ can also be made since the creator artist applies his/her scientific and empirical potencies to analyze these brilliant instances of artistry, together with practice and diligence to gain the real and authentic knowledge, far from hidden prejudices and dogmatism.
An important question is that: Which factors had purified the intuition of Golden age masters, and allowed them to create such eternal pieces of art? What kept them safe from aberration, and what gave them the power to follow up on their efforts tirelessly?
Due to the specific circumstances of our era, now any attempt to answer such questions by referring to available resources will lead to serious contradictions. The fact which regrettably represents the incapacitation and imperfection of our modern approaches…
Considering the main characteristic principles of the phenomenon called violin, we realize that aesthetics along with knowledge and experience have provided the foundations for creating a magnificent work of art. As the cornerstone of this action, referring to reliable resources for extracting the correct pattern is always necessary. In Reza Ziaei Workshop, we have collected and evaluated many Golden age patterns due to the scientific and empirical potentials that are available, and extracted the optimal geometric design off each, due to the principles of physics and mathematics. Henceforth, an exact geometric output can be extracted using high-tech computer-aided design tools (CAD), which itself requires another field of technical ability. This special service is appropriate for professional violin makers and other makers who would like to apply their artistic skills on an exact and correct pattern.
But when it comes to applying the pattern on a new instrument, then the artist’s abilities to implement his/her idea becomes particularly important. For the maker who has chosen the correct pattern, the prior step must be taken by providing a mediate tool, called mould.
An ideal mould, particularly “Inner Mould”, makes it possible to attain the compliance of circumferential forms and proportion of different parts of the structure, based on the applied pattern, and also to assemble the various components of the ribs’ structure with high accuracy.
In the meantime, for making an inner mould based on a particular pattern, both empirical knowledge and proficient skill, and also well-understanding of the concept of mould is required to create a delicate and accurate piece. The mould actually defines the primary quiddity of the instrument and also, it is the substantial element on which the geometric qualities of the instrument depend directly. So, it must be done with a masterful precision, together with high technical level and great understanding of the process to attain a final product which can properly guide the further steps ahead.

Main properties of an ideal mould are as follows:
1- Correct circumferential form, based on the geometric design, with a maximum acceptable error of 0.1(mm).
2- Symmetry in circumferential form of the mould, exclusively for moulds which are based on symmetric patterns.
3- Exact reliable symmetry line to refer in the steps ahead.
4- Accurate thickness of the mould to refer in the steps ahead, with a maximum acceptable error of 0.1(mm)
5- Correct right angles of the circumferential span for complete compliance with the ribs’ surface.
6- High quality of material, due to the aesthetic characteristics and also the least amount of deformation over time.
7- Exact devising of the various components, including the placement of blocks, etc.

This entry was written by HarmonyTalk
Tagged: .

Farhad Poupel: The Voice of the Shahnameh in the Orchestras Around the World

In an era when almost no trace of contemporary Iranian music can be heard in international concert halls, except (so-called!) avant-garde works that owe their existence solely to the fashionable slogans of the “pseudo-intellectual” crowd who have seized the already meager resources for performing classical music from the true artists of the field, the numerous performances of Farhad Poupel’s works shine as a ray of hope for lovers of sincere musical art. Without resorting to trendy slogans, he has kept the flame of Iranian classical music alive purely through the power of his artistry.

Five Major Myths About Mozart’s Life

Wolfgang Amadeus Mozart, the renowned Austrian composer, is undoubtedly one of the greatest geniuses in the history of classical music. However, his life is surrounded by numerous myths and legends, some of which are not based on facts. This article explores five of the most common misconceptions about Mozart’s life.

Latest posts

From Past Days…

Gholam Reza Khan Minbashian: a pioneer in Iranian music (II)

Gholamreza Khan Minbashian taught courses such as organology, orchestration of military music and harmony based on the books which were translated from French into Persian with the help of Aliakbar Mozayyan-o-Dolleh (1846-1932).

New Technique for Playing Classical Guitar (I)

Joint application of the two techniques of “Lip” and “Nose” could be effectively applied for hearing and playing far-away intervals, by the Classical Guitar. Before this, a Classical Guitar player had to waive playing intervals not possible with the left hand, and had to replace or eliminate some notes, making it possible to play such intervals; specifically the capability of the left hand of the musician, was also a factor in such a selection. These methods are hereby illustrated by photographs and a video-file, in order to provide optimum comprehension of applying these methods, invented by the author; specifically the “Lip” technique, which is considered to be a more significant technique, emphasized by the author.

Whose dream?! Whose reality?!

(A review of the “So Faraway” album; Tar and Tonbak duet; Siavash Imani, Pedram Khavarzmini)

The response of the fired musicians to the interview of the managing director of Rudaki Foundation

Following an interview by Mehdi Salem, the director of the Rudaki Foundation, with the “Our Music” website, a response from the dismissed musicians was published in response to this conversation, which you read:

Iranian Fallacies – Composition and Arrangement

In the tradition of classical music, it is generally tried to use the same technical terms related to music in all countries. Even in the cultures in which native terms exist to refer to musical terms, usually the better known universal terms are employed.

Principles of Violin Playing (IX)

4.3.1. To practice playing of doubles of notes involving two different fingers, each note is played at separate bows with slow tempo, each note is played perfectly regarding its bass and tenor sounds and then the considered double is played at another bow while considering the resulted sound of the double.

Developments in Iranian Music Since Qajar Era (III)

Developments in Composing

Along with developments in the Iranian instruments, composition of the Iranian pieces developed as well. As a matter of fact, the developments of the two, mutually affected each other. In other words, instrumental developments led to developments in composition and vice versa.

Principles of Violin Playing (X)

Creating sound continuity between two notes in the source and destination positions when left hand position changes and “two different finger numbers” are involved is called portamento. Portamento can be performed on single string or two neighboring strings and with hand moving on fingerboard either upward or downward.

Tehran Flute Choir Established

Tehran Flute Choir was established in 1394 (late 2015) by Firouzeh Navai. Tehran Flute Choir, Iran’s first largest flute choir, recruited its members mostly from young talented flutists of Iranian Flute Association. Featuring piccolo, flute, alto flute and bass flute, Tehran Flute Choir, directed by Firouzeh Navai, premiered under the batons of Saeed Taghadosi on January 7-8, 2016 at Roudaki Hall in Tehran.

Iranian Fallacies – School of Vaziri

The term “School of Vaziri” is often used in writings on Iranian music, but the exact meaning of the term is not clear; some of the authors have used the term to only refer to the group of Vaziri’s students, including a large group of his conservatory students and his Tar students such as Abolhassan Saba, Rouhollah Khaleghi, Ahmad Foroutan Rad, Hossein Sanjari, Heshmat Sanjari and others. But can we consider all Vaziri’s students as followers of his school of thought? This is definitely a mistake, because we know that some of Vaziri’s students have chosen a completely different path than that of Vaziri.