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Tuned to C1–G1–D2–A2 or E1–A1–D2–G2 (same as double bass tuning), with one 5 string instrument that is tuned to A0-C1–G1–D2–A2\\ | Tuned to C1–G1–D2–A2 or E1–A1–D2–G2 (same as double bass tuning), with one 5 string instrument that is tuned to A0-C1–G1–D2–A2\\ | ||
The contabass violin is tuned like the double bass but with a far larger body to balance the instruments acoustics, notably the instrument stands at over 7 feet tall, and cannot be fully played by short players. \\ | The contabass violin is tuned like the double bass but with a far larger body to balance the instruments acoustics, notably the instrument stands at over 7 feet tall, and cannot be fully played by short players. \\ | ||
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+ | ===Lineage=== | ||
==Octets in Use== | ==Octets in Use== | ||
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===New Methods for Acoustic Tuning=== | ===New Methods for Acoustic Tuning=== | ||
- | Dr. Hutchins developed new methods for tuning the top and bottom | + | Dr. Hutchins developed new methods for tuning the top and bottom |
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+ | ==Acoustic issues represented in Research== | ||
+ | Three primary innovations of how to construct a string instrument are presented by Dr. Hutchins- | ||
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+ | Size and resonant tuning of the front and back plates of an instrument. These plates are tuned in relationship to the playing range of the instruments strings and most of the plates are wider than their orchestral counterparts.\\ | ||
+ | Construction of the internal chamber of the instrument to better match playing range, many of Hutchins' | ||
+ | Adjustment of playing length of the strings to match the acoustic range, most of the violin octet have longer fingerboards and strings than their orchestral counterparts. \\ | ||
===Academic Career=== | ===Academic Career=== |