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Guitars and Lutes-Powerpoint
Guitars and Lutes-Powerpoint
Guitars and Lutes-Powerpoint
Physics of Musical Instruments Chap 9 Science of Sound Chap. 10 Guitar as a reflex enclosure, G. Caldersmith, JASA 63, 1566 (1978). Computational Mechanics of the Classical Guitar, R. Bader (Springer, 2005)
LUTE-TYPE INSTRUMENTS HAVE A LONG HISTORY. VARIOUS TYPES OF NECKED CHORDOPHONES WERE IN USE IN ANCIENT EGYPTIAN, HITTITE, GREEK, ROMAN, TURKISH, CHINESE, AND OTHER CULTURES. IN THE 9TH CENTURY, MOORS BROUGHT THE OUD (UD) TO SPAIN. IN THE 15TH CENTURY THE VIHUELA BECAME POPULAR IN SPAIN AND PORTUGAL. ABOUT THE SAME TIME GUITARS WITH FOUR DOUBLE STRINGS BECAME POPULAR. ITALY BECAME THE CENTER OF THE GUITAR WORLD. THE EARLIEST KNOWN SIX-STRING GUITAR WAS BUILT IN 1779 BY GAETANO VINACCIA IN ITALY. STRADIVARIUS IS KNOWN TO HAVE BUILT SEVERAL GUITARS. COMPOSERS WHO PLAYED THE GUITAR INCLUDE ROSSINI, VERDI, VON WEBER, AND SCHUBERT. FERNANDO SOR WAS THE FIRST OF A LONG LINE OF SPANISH VIRTUOSOS AND COMPOSERS FOR THE GUITAR. THE SPANISH LUTHIER ANTONIO DE TORRES JURADO (1817-1892) CONTRIBUTED MUCH TO THE DEVELOPMENT OF THE MODERN CLASSICAL GUITAR WHEN HE ENLARGED THE BODY AND INTRODUCED A FAN-SHAPTED PATTERN OF BRACES TO THE TOP PLATE. FRANCISCO TARREGA (1852-1909), PERHAPS THE GREATEST OF THE 19TH CENTURY PLAYERS, INTRODUCED THE APOYANDO STROKE AND EXTENDED THE EXPRESSIVE CAPABILITIES OF THE GUITAR.
THE GUITAR
CLASSICAL FLAMENCO
NYLON STRINGS
CLASSICAL GUITAR
SOUND SPECTRUM FOR A SINUSOIDAL FORCE APPLIED PERPENDICULAR TO THE BRIDGE. NOTE STRONG PEAKS AROUND 100 AND 200 Hz, SEVERAL PEAKS AROUND 400-700 Hz, AND A COLLECTION OF PEAKS IN THE REGION OF 1500 TO 2500 Hz. PEAK LEVELS OF THE RESONANCE NEAR 400 Hz CORRELATES ESPECIALLY WELL WITH THE QUALITY RATING OF THE GUITAR BY LISTENERS (Meyer, 1983).
VIBRATION MODES OF A GUITAR PLATE BLANK (WITHOUT BRACES) WITH A FREE EDGE
HOLOGRAPHIC INTERFEROMETRY
VIBRATION MODES OF A CLASSICAL GUITAR GOP PLATE GLUED TO FIXED RIBS BUT WITHOUT A BACK.
Torres
Hauser
Eban
(0,0) MODE AT 97 Hz
Kp and mp ARE STIFFNESS AND MASS OF TOP PLATE. mh IS MASS OF AIR IN SOUND HOLE. V IS VOLUME OF AIR CAVITY.
mp and Kp ARE MASS AND STIFFNESS OF TOP PLATE; mb and Kb ARE MASS AND STIFFNESS OF BACK PLATE; Mh IS MASS OF AIR IN SOUND HOLE V IS AIR CAVITY VOLUME
STRING FORCES
FORCES PERPENDICULAR AND PARALLEL TO THE BRIDGE EXCITE DIFFERENT RESONANCES AND RESULT IN TONES THAT HAVE DIFFERENT DECAY RATES. PLUCKING PARALLEL TO THE BRIDGE PRODUCES A WEAK BUT LONGLASTING TONE. PLUCKING AT AN ANGLE GIVES A COMPOUND DECAY RATE
IN THE APOYANDO STROKE, THE FINGER COMES TO REST ON AN ADJACENT STRING IN THE TIRANDO STROKE, IT RISES ENOUGH TO CLEAR IT
SOUND RADIATION
MARTIN D28 FOLK GUITAR DRIVEN BY A SINUSOIDAL FORCE OF 0.15 N APPLIED TO THE TREBLE SIDE OF THE BRIDGE. SOLID CURVE IS SOUND SPECTRUM; DASHED CURVE IS ACCELERATION AT THE DRVING POINT
SOUND RADIATION
COMPARISON OF THE SOUND LEVEL OF THE FUNDAMENTALS OF PLAYED NOTES (BARS) TO THE FREQUENCY RESPONSE FUNCTION (SOLID CURVE)
QUALITY
ACCORDING TO JANSSON (2002), TONAL STRENGTH OR CARRYING POWER IS THE MOST IMPORTANT QUALITY CRITERION WITH TONE LENGTH AND TIMBRE ALSO BEING IMPORTANT. Meyer (1983) FOUND THE FOLLOWING OBJECTIVE CRITERIA TO BEST CORRELATE WITH QUALITY: 1. PEAK LEVEL OF THE THIRD RESONANCE (AROUND 400 Hz) 2. AMOUNT BY WHICH THIS RESONANCE STANDS ABOVE THE RESONANCE CURVE 3. THE SHARNESS (Q-VALUE) OF THIS RESONANCE 4. THE AVERAGE LEVEL OF 1/3-OCTAVE BANDS IN THE RANGE 80-125 Hz 5. THE AVERAGE LEVEL OF 1/3-OCTAVE BANDS IN THE RANGE 250-400 Hz 6. THE AVERAGE LEVEL OF 1/3-OCTAVE BANDS IN THE RANGE 315-5005 Hz
SMALLMAN GUITAR
PORTUGESE GUITARS
PEAR-SHAPED PORTUGESE GUITARS ARE ESPECIALLY USED TO ACCOMPANY FADO MUSIC. THEY HAVE 6 COURSES OF DOUBLE STRINGS AND HAVE BEEN USED IN PORTUGAL SINCE THE 13TH CENTURY. THE TOP PLATE MAY BE SLIGHTLY CURVED, WHILE THE BACK PLATE IS USUALLY FLAT.
VIBRATIONAL BEHAVIOR
Hv() [dB (m/s2/ N)]
H [d (u b
275 Hz
360 Hz
635 Hz
GYPSY GUITAR
THE GYPSY GUITAR, KNOWN IN FRANCE AS THE MANOUCHE GUITAR, GAINED POPULARITY IN THE LATE 1920s. PLAYED BY DJANGO REINHARDT THROUGHOUT HIS CAREER, THE INSTRUMENT HAS SEEN A REVIVAL IN INTEREST. A GYPSY GUITAR MEASURED BY LEE, et al (2007) SHOWED RESONANCES AROUND 120 Hz, 230 Hz, AND 420 Hz.
SYNTHETIC MATERIALS
TRADITIONALLY GUITARS HAVE TOP PLATES OF SPRUCE OR REDWOOD WITH BACKS AND RIBS OF ROSEWOOD OR COMPARABLE HARDWOOD. OVATION GUITARS (BY KAMAN) HAVE BOWLS OF FIBERGLASS . CHARLES BESNAINOU AND HIS COLLEAGUES IN FRANCE HAVE CONSTRUCTED GUITARS USING COMPOSITE MATERIALS
ELECTRIC GUITARS
Gibson
Les Paul ~1957 Eric Clapton
Fender
Stratocaster ~1952 Stevie Ray Vaughan Lenny
Rickenbacker
model 325 ~1958 John Lennon
MAGNETIC PICKUPS
THE INDUCED VOLTAGE WILL BE ROUGHLY PROPORTIONAL TO THE VERTICAL VELOCITY OF THE STRING. TRANSVERSE MOTION WILL INDUCE A SMALLER SIGNAL AT TWICE THE FREQUENCY OF THE STRING VIBRATION SINCE THE FLUX CHANGE WILL BE THE SAME WHICHEVER DIRECTION THE STRING MOVES.
MAGNETIC PICKUPS
= 1/20
DEPENDENCE OF THE SENSITIVITY OF THE nth PARTIAL OF A PLUCKED NOTE FOR A MAGNETIC PICKUP LOCATED AT A FRACTIONAL LENGTH OF THE VIBRATING STRING FROM THE BRIDGE
= 1/10
= 1/7
= 1/5
= 1/2
string partial n
HUMBUCKING COILS
THE HUMBUCKING PICKUP WAS PATENTED IN 1955 BY SETH LOVER FOR GIBSON. TWO CLOSELY-SPACED PICKUPS ARE PLACED ALONG THE STRING WITH THEIR OUTPUTS ADDED, BUT WITH THEIR SENSING COILS WOUND IN OPPOSITE DIRECTIONS SO THAT PICKUP FROM EXTERNAL MAGNETIC FIELDS (HUM) IS CANCELLED. HUMBUCKING COILS HAVE A LARGER INDUCTANCE THAN SINGLE-COIL PICKUPS AND THUS HAVE A LOWER RESONANCE FREQUENCY, RESULTING IN A MELLOWER SOUND.
HUMBUCKING PICKUPS
N S
N S
N S N
N S
(a)
(b)
HUMBUCKING PICKUP
TOP VIEW
BOTTOM VIEW
PIEZOELECTRIC PICKUPS
A PIEZOELECTRIC CRYSTAL HAS AN ASYMMETRIC MOLECTURE STRUCTURE SUCH THAT A COMPRESSIVE OR BENDING STRAIN CAN INDUCE A VOLTAGE ACROSS THE CRYSTAL. PIEZOELECTRIC PICKUPS MAY BE MOUNTED ON THE BRIDGE OR ON THE BODY OF THE GUITAR NEAR THE BRIDGE. THE OVATION ACOUSTO-ELECTRIC GUITAR IS OFTEN GIVEN CREDIT FOR POPULARIZING PIEZOELECTRIC PICKUPS. PIEZOELECTRIC PICKUPS HAVE A VERY HIGH OUTPUT IMPEDANCE, AND THUS REQUIRE PREAMPLIFIERS WITH A HIGH IMPEDANCE INPUT. THEY ARE RELATIVELY FREE OF HUM DUE TO PICKUP OF STRAY MAGNETIC FIELDS. THEY ARE SUSCEPTIBLE TO IMPULSIVE FORCE APPLIED TO THE GUITAR BODY.
A PHASER DIVIDES THE OUTPUT SIGNAL INTO TWO PATHS AND CHANGES THE PHASE IN ONE PATH SO THAT NOTCHES OCCUR IN THE SPECTRUM OF THE RE-COMBINED SOUND.
A FLANGER IS A PHASER WITH A GRADUALLY CHANGING DELAY IN ONE CHANNEL THAT PRODUCES A SWEPT COMB FILTER EFFECT. THE NAME COMES FROM THE ORIGINAL METHOD OF CREATION. A SIGNAL WOULD BE RECORDED ON TWO TAPE MACHINES SIMULTANEOUSLY; THE OUTPUTS FROM THESE TWO RECORDERS WERE COMBINED AND RECORDED ON A THIRD RECORDER. PLACING A FINGER ON THE FLANGE OF ONE OF THE TAPE REELS PROVIDED A VARIABLE DELAY.
SPECIAL EFFECTS
IN 1945 LEO FENDER INTRODUCED WAH-WAH BY MEANS OF A FILTER WITH A FORMANT STRUCTURE SIMILAR TO THAT OF THE HUMAN VOICE. BY MODIFYING THE STRENGTHS AND POSITONS OF SUCH FORMANTS WITH A FOOT PEDAL, THE GUITAR CAN BE MADE TO SOUND LIKE THE HUMAN VOICE. A VIBRATO ARM (SOMETIMES CALLED A WHAMMY ARM) IS A LEVER THAT MAKES SMALL CHANGES IN STRING TENSION TO PRODUCE A VIBRATO EFFECT.
A PERFORMER USUALLY SITS ON A STOOL OR SEAT. THE RIGHT FOOT IS USED MAINLY TO OPERATE A VOLUME PEDAL, WHILE THE LEFT FOOT IS PRIMARILY USED TO PRESS ONE OR MORE OF THE FOOT PEDALS. THE STEEL IS SLID UP AND DOWN THE NECK WHILE TOUCHING THE STRINGS, LEADING TO A CHARACTERISTIC SLIDING PITCH SOUND.
BLUES AND ROCK PLAYERS USUALLY TUNE THEIR STRINGS TO D-G-D-G-B-D OR TO E-AE-A-C#-E. BLUEGRASS AND COUNTRY PLAYERS MORE OFTEN TUNE TO G-B-D-G-B-D. (CONVENTIONAL GUITARS ARE TUNE E-A-D-G-B-E).
LUTES
LOCATIONS OF NODES COMPARED TO THE BRIDGE AND THE BARS (Firth, 1977)