Musical FAQ
Frequently asked questions
Normal usage will eventually cause both the peg and the peg hole to wear, which may result in the pegs slipping or sticking, making tuning difficult. Ordinary chalk, applied to the areas of contact between the peg and peg box (which show up as shiny areas on the peg shaft), can help provide more grip. The operation of pegs that stick or are difficult to rotate may be improved by the use of peg dope or lead from a soft graphite pencil applied to the contact areas. Eventually, pegs may wear to the extent that replacement pegs will need to be fitted by a qualified repair person.
While there are more precise methods of determining proper bridge location, an approximate placement can be achieved by aligning the feet of the bridge between the inner notches of the f-holes. If the bridge has been knocked off the instrument, do not attempt to replace the bridge before first checking to see that the instrument is undamaged and that the sound-post has not fallen. When in doubt, have the instrument checked by a qualified repair person. Never glue the bridge to the instrument.
A relatively safe technique for straightening a bridge is to carefully pinch the string right next to the bridge between thumb and forefinger. By squeezing the fingers together and rolling them against the bridge, lateral pressure is applied against the top face of the bridge, pushing it slightly backwards (or forwards, depending on which side the pressure needs to be applied). Repeat with each string, in turn, until the bridge is once again perpendicular. If the bridge is significantly warped, have the instrument serviced promptly, before the bridge collapses or breaks.
Better to have avoided this situation in the first place, by having checked that the bridge was perpendicular after each tuning; it is easier (and less traumatic) to correct a slight bridge lean, than have to address a situation where the bridge is substantially tilted and the feet are no longer in full contact with the top
Replace strings one at a time, to prevent the soundpost from falling, and reduce stress on the instrument itself. Before removing the old strings, inspect the area around the nut and bridge; if the strings are being pinched, or have cut deeply into the grooves (they may even be flush with the top of the nut or bridge!), take the instrument to a qualified repair person for service. The strings should rest roughly a third of the way into the grooves.
After removing the old string, check the grooves in the nut and bridge for wear or sharp edges. A bit of soft pencil lead applied in the grooves will reduce friction and help the string slide smoothly over the bridge or nut.
When string adjusters are not being used, pass replacement strings through the tailpiece holes from underneath the tailpiece. The string should then extend straight from the tailpiece hole, over the saddle or fret, to the bridge – do not thread the string back through the ball or loop at the end of the string. Wind the string on the pegs so that the string passes over the peg and not under it, and progresses from the peg hole towards the peg box walls. Make sure that the string does not overlap or cross over itself, nor contact the peg box wall.
Whether steel, nylon, or gut, take the time to gradually bring the string up to pitch. Avoid over-tuning, which may damage the strings, and guard against the top of the bridge being pulled forwards as new strings are being brought up to pitch.
Whether steel, nylon, or gut, take the time to gradually bring the string up to pitch. Avoid over-tuning, which may damage the strings, and guard against the top of the bridge being pulled forwards as new strings are being brought up to pitch.
String adjusters, or fine tuners, need only be used when steel core strings are installed on an instrument. The relative elasticity of gut and synthetic core strings obviates the need for fine tuners with these more pliant core materials. E-strings in synthetic or gut core violin sets typically have a metal core, and E-string adjusters should always be installed with these strings.
For ease of tuning, many educators do request four fine tuners regardless of the type of string being used. Special wide slot string adjusters are commonly available for synthetic and gut core strings. Alternatively, the slot on a standard string adjuster may be carefully spread to accommodate the slightly thicker synthetic or gut core strings.
For ease of tuning, many educators do request four fine tuners regardless of the type of string being used. Special wide slot string adjusters are commonly available for synthetic and gut core strings. Alternatively, the slot on a standard string adjuster may be carefully spread to accommodate the slightly thicker synthetic or gut core strings.
hances are, a buzz or rattling sound in the instrument is not caused by a loose bass bar, but something much more prosaic. Likely culprits include: loose sliding (Si-Hon-style) mute or loose string adjusters (don’t forget to check the lock nuts, too), loose string winding, loose purfling or decorative fittings, loose or badly worn fingerboards (these often open at the base of the neck), and open seams or cracks.
By holding the instrument by the neck and gently rapping all around the top and back, an open seam can often be located by the slight rattle it will emit.
On celli, if too much of the endpin is retracted in the body, the pin may buzz when the instrument is played.
When new violins are varnished, sometimes a bit of varnish dries in the narrow opening of the f-hole, and when the instrument is played, the dried varnish buzzes.
Wolf tones occur when strong sympathetic vibrations from theinstrument itself interfere with string vibration. The sensation may manifest itself in pulsation, throbbing, roughness, jump infrequency, or difficulty in drawing the tone from the instrument.
To a greater or lesser degree, wolf tones are present on all instruments, even the finest Stradivari, caused by excess tension, or an anomaly in design or graduation. Typically, wolf tones can be heard (and felt) when playing B or B flat on the violin, B flat or C on the viola, and E to F sharp on the cello (especially in fourth position on the G-string.)
Most good players learn to compensate for the wolf tone; proper Vibrato can often make the wolf disappear; cellists often simply squeeze the lower bout with a knee when playing in areas where the wolf lurks.
Generally, when the ribbon of hair is so thin that there are not enough to perform their function properly, or when the ribbon has become uneven, the bow should be rehaired. Playing on a bow that has had too many hairs broken on one side can actually cause the stick to warp. Caked or dirty hair can be cleaned occasionally with mild liquid detergent, but should only be done with utmost care taken not to get the bow wet – beware especially of capillary action wicking moisture into the mortises.
In winter, bow hair may shrink due to lack of humidity, preventing the bow from being properly loosened. Likewise, summer humidity may cause the hair to stretch to such an extent that the bow can no longer be tightened. Either scenario is reason enough to take the bow to a qualified repair person to shorten, lengthen, or even rehair the bow.