{"id":158,"date":"2014-03-31T22:10:05","date_gmt":"2014-03-31T13:10:05","guid":{"rendered":"http:\/\/5stringcello.com\/english\/?p=158"},"modified":"2020-01-08T13:48:15","modified_gmt":"2020-01-08T04:48:15","slug":"glossary","status":"publish","type":"post","link":"https:\/\/5stringcello.com\/english\/ii-start-of-the-project\/meeting-3\/glossary\/","title":{"rendered":"GLOSSARY"},"content":{"rendered":"\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n
(Words printed in Italic<\/em> are explained in further detail within this\u00a0 glossary.)<\/span><\/td>\n <\/td>\n<\/tr>\n
adjusters<\/b><\/td>\n\n

the small screws on the tailpiece<\/em> that are used for fine-\u00a0\u00a0\u00a0 tuning a string instrument
\n<\/span><\/p>\n<\/td>\n<\/tr>\n

bariolage<\/b><\/td>\n\n

a technique that involves the use of an open string for an accompaniment which separates itself from the melodic \u00a0 progression on another string; (See also suite BVW 1007; Pr\u00e9lude; M.33 and following.);it is crucial that the\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 separate notes are played on the different, open string; \u00a0\u00a0\u00a0 otherwise the melody cannot be properly recognized\u00a0\u00a0\u00a0\u00a0\u00a0
\n<\/span><\/p>\n<\/td>\n<\/tr>\n

bass bar<\/b><\/td>\n\n

a wooden beam glued roughly parallel to the strings<\/em> onto the underside of the belly<\/em> of a string instrument; its\u00a0 main function is, like the sound post<\/em>‘s function, to withstand\u00a0\u00a0\u00a0\u00a0\u00a0 the pressure from the strings<\/em>; with\u00a0\u00a0 the introduction of\u00a0\u00a0\u00a0 longer necks, steel strings and higher pitches the bass bar gradually became taller and longer
\n<\/span><\/p>\n<\/td>\n<\/tr>\n

belly
\n<\/b><\/td>\n		\n

the top or lid of a string instrument<\/span><\/p>\n<\/td>\n<\/tr>\n

bridge<\/b><\/td>\n\n

one of the two places of a string instrument where the\u00a0\u00a0\u00a0\u00a0 strings<\/em>‘ vibration is stopped down by touching a part of\u00a0\u00a0 the instrument (the other one being the nut<\/i>); it is\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 positioned between the f<\/em>-holes<\/i> and transmits the\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 vibrations of the strings<\/em> to the belly<\/em> and through the\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 sound post<\/em> to the bottom; see pictures 7, 11; there are\u00a0\u00a0\u00a0\u00a0 two basic types of bridges: Belgian and French; Belgian\u00a0\u00a0 bridges have long legs, a slight body and produce a\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 strong and bright sound color; French bridges have\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 shorter legs, a bigger body and produce a gentler and\u00a0\u00a0\u00a0\u00a0 warmer sound color<\/span><\/p>\n<\/td>\n<\/tr>\n

bouts\/ribs<\/b><\/td>\n\n

the side walls <\/b>of a string <\/b>instrument<\/span><\/p>\n<\/td>\n<\/tr>\n

button<\/b><\/td>\n\n

the top part of the back of a string instrument; it is a\u00a0\u00a0\u00a0\u00a0\u00a0 rather important part of the instrument: since the neck is glued on there a considerable amount of pressure has to be accounted for
\n<\/span><\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Button of a cello. Click on picture to enlarge.
\n<\/span><\/p>\n

\"Button<\/a><\/p>\n<\/td>\n<\/tr>\n

c-bouts<\/b><\/td>\n\n

the c-shaped and mirror c-shaped narrowing of the body in the middle of a string instrument; the c-bouts<\/em> are\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 necessary to allow the bow access to the outer (C and a)\u00a0\u00a0 strings; a further reason for the necessity of the c-bouts<\/em>\u00a0\u00a0 is the strong pressure on the belly<\/em> in that area, the body has to be narrower there in order to deal with that \u00a0 \u00a0 \u00a0 \u00a0 pressure<\/span><\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 A cello’s\u00a0 c-bout.<\/span><\/p>\n

\"A<\/a><\/span><\/p>\n<\/td>\n<\/tr>\n

copal<\/b><\/td>\n\n

a type of resin<\/i>, mostly of fossil origin<\/span><\/p>\n<\/td>\n<\/tr>\n

dragon’s blood<\/b><\/td>\n\n

a type of resin <\/i>with a bright red color,; it is gained from\u00a0\u00a0 various tree-like plants and is used mainly for color effects<\/span><\/p>\n<\/td>\n<\/tr>\n

elemi<\/b><\/td>\n\n

a type of resin<\/em>, usually coming from India, Brazil or \u00a0\u00a0\u00a0 \u00a0\u00a0 Cameroon<\/span><\/p>\n<\/td>\n<\/tr>\n

endpin<\/b><\/td>\n\n

the endpin is an extractable rod at the bottom of the\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 cello; without it the player would have to clamp the\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 instrument between the knees; endpins are manufactured in various types and\u00a0 materials but tests have shown that a cello produces\u00a0 the biggest sound when equipped with\u00a0\u00a0 the massive steel type <\/span><\/p>\n<\/td>\n<\/tr>\n

fingerboard<\/b><\/td>\na wooden (usually ebony) plate glued to the neck; on the fingerboard the player’s fingers stop the strings<\/em> down in\u00a0\u00a0\u00a0 order to produce various pitches<\/span><\/td>\n<\/tr>\n
f-holes<\/b><\/td>\nthe f-holes are the two f-shaped openings on the belly<\/em> of a string instrument;\u00a0\u00a0 the bridge<\/em> transmits the strings<\/em>\u2019\u00a0\u00a0\u00a0\u00a0 vibrations to the belly<\/em> and the sound post<\/em> transmits them\u00a0 to the bottom; the collected vibrations in the vessel are\u00a0\u00a0\u00a0\u00a0 then reflected through the f-holes<\/em> to the outside and\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 reach the listener\u2019s ear; the shape was chosen rather for\u00a0\u00a0 acoustic than decorative reasons<\/span><\/td>\n<\/tr>\n
mastic<\/b><\/td>\na plant resin<\/em>, also called Arabic gum; it is used for the\u00a0\u00a0\u00a0\u00a0\u00a0 varnish of a string instrument<\/span><\/td>\n<\/tr>\n
nut<\/b><\/td>\none of the two places of a string instrument where the\u00a0\u00a0\u00a0 string<\/em>\u2019s vibration is stopped down by touching a part of\u00a0\u00a0\u00a0 the instrument (the other being the bridge<\/i>); the nut is\u00a0\u00a0\u00a0\u00a0 located just below the pegbox<\/i>; the distance from bridge<\/em>\u00a0\u00a0 to nut<\/em> determines the string length; string length of a 4\/4 cello is ideally between 680 and 690 mm<\/span><\/td>\n<\/tr>\n
pegbox<\/b><\/td>\nthe upper part of a string instrument containing the\u00a0 pegs<\/em> that allow a rough tuning of\u00a0\u00a0 the cello’s strings<\/em>, the\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 fine-tuning is\u00a0 done with the adjusters<\/em> on the tailpiece<\/em>;\u00a0\u00a0\u00a0 the\u00a0 lowest\u00a0 part\u00a0 of the\u00a0 pegbox<\/em>\u00a0 is just above the nut<\/i>;\u00a0\u00a0\u00a0\u00a0 the highest part is the scroll<\/i><\/span><\/p>\n

\u00a0<\/span><\/p>\n

\u00a0The pegbox of a cello.<\/p>\n

\"Sketch<\/a><\/span><\/p>\n<\/td>\n<\/tr>\n

pegs<\/b><\/td>\n\n

plucks, usually made of wood, holding the strings<\/em> on the opposite side of the tailpiece<\/em>; they are put into the\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 pegbox<\/em> and can be turned to change the pitch
\n<\/span><\/p>\n

 <\/p>\n

\"Pegbox<\/a><\/p>\n<\/td>\n<\/tr>\n

purfling<\/b><\/td>\n\n

an inlaid strip with black edges, placed on the outer brim of the belly<\/em> and back of a string instrument; purfling\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 serves not only esthetical purposes but also is\u00a0supposed to stop potential cracks proceeding along the\u00a0graining lines of the wood<\/span><\/p>\n

\"Purfling<\/a><\/p>\n<\/td>\n<\/tr>\n

resin<\/b><\/td>\na sticky substance, usually secreted from trees; it is used\u00a0\u00a0 for the varnish of a string instrument; in its hardened\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 form it is applied to the bow hairs in order to produce\u00a0\u00a0\u00a0\u00a0 the necessary friction with the string
\n<\/span><\/td>\n<\/tr>\n
ribs\/bouts<\/b><\/td>\nthe side walls <\/b>of a string <\/b>instrument<\/span><\/td>\n<\/tr>\n
scroll<\/b><\/td>\nthe upper part of the pegbox<\/em>; its acoustical influence on \u00a0 an instrument\u2019s sound is disputet, the esthetical influence is not: the beauty of the scroll is another \u2018calling-card\u2019 of a violin maker<\/i><\/span><\/td>\n<\/tr>\n
shellac<\/b><\/td>\na type of resin<\/i> consisting of the secretions of the lac bug<\/span><\/td>\n<\/tr>\n
sound post<\/b><\/td>\na round stick, positioned inside the instrument slightly in \u00a0 front of the left foot of the bridge<\/em>; it helps to withstand\u00a0\u00a0 the pressure from the bridge and also transports the\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 vibrations from strings<\/em> and bridge to the bottom
\n<\/span><\/td>\n<\/tr>\n
sticklac<\/b><\/td>\na type of resin<\/i> produced by an Asian shield louse<\/span><\/td>\n<\/tr>\n
Stradivari<\/b><\/td>\nAntonio Stradivari (1644-1737); Italian violin maker; \u00a0 \u00a0\u00a0 pupil of\u00a0Niccol\u00f2 Amati; Stradivari’s instruments are\u00a0\u00a0 \u00a0 \u00a0\u00a0\u00a0 supposed to have perfect proportions and sound\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u00a0\u00a0 properties and therefore served as models for violin\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 makers<\/em> until the present time<\/span><\/td>\n<\/tr>\n
strings<\/b><\/td>\nthe strings<\/em> of a cello were originally made of catgut;\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 nowadays most cellists use steel-wound strings with\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 a synthetic core; the two low strings arer often\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u00a0\u00a0 tungsten-wound because tungsten is a very strong metal\u00a0\u00a0 that allows for making the strings quite thin; a thin string is more easily to be\u00a0 handled with both left and right\u00a0\u00a0\u00a0\u00a0\u00a0 hand<\/span><\/td>\n<\/tr>\n
tailpiece<\/b><\/td>\na piece of wood, metal or plastic that is fixed between the endpin<\/em> socket and the lower ends of the strings<\/em>; usually it is equipped with adjusters<\/em>
\n<\/span><\/td>\n<\/tr>\n
varnish<\/b><\/td>\nthe transparent \u00a0lacquer of a string instrument; it consists of various components such as resin<\/em>, oil, glue and color<\/span><\/td>\n<\/tr>\n
violin dealer<\/b><\/td>\na person <\/b>who sells string instruments but is not\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 necessarily able to manufacture or to repair <\/b>them<\/span><\/td>\n<\/tr>\n
violin maker<\/b><\/td>\n(also called a luthier) a person who <\/b>can manufacture and repair <\/b>any string instrument, not only violins; not to be\u00a0\u00a0 mistaken with a violin dealer<\/i> a violin maker might sell\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 instruments and instrument-related items but his priority\u00a0 is the conservation of existing instruments and the\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 creation of his own; repairing and building string\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u00a0\u00a0 instruments requires a very high level of craftsmanship\u00a0\u00a0\u00a0\u00a0 and knowledge in many different disciplines<\/span><\/td>\n<\/tr>\n
\u00a0wolf <\/b><\/td>\na disturbance of a string’s vibration on certain pitches, \u00a0 \u00a0 caused by acoustical interferences between the\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 vibrations of strings’ and the instrument\u2019s body,\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 producing the so-called wolf-tone; on a four-string cello\u00a0\u00a0 it is usually most strongly present within the G-string\u2019s \u00a0 \u00a0\u00a0 forth position, affecting pitches from e to g; there are\u00a0\u00a0\u00a0\u00a0 several devices (‘wolf killers’) that can suppress a wolf\u00a0\u00a0\u00a0\u00a0\u00a0 tone to some degree (The Ngeringa cello in picture 25\u00a0\u00a0\u00a0\u00a0 has a wolf killer attached to its G-string.<\/em>)
\n<\/span><\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n","protected":false},"excerpt":{"rendered":"(Words printed in Italic are explained in further detail within this\u00a0 glossary.)   adjusters the small sc […]","protected":false},"author":1,"featured_media":2397,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_locale":"ja","_original_post":"158","footnotes":""},"categories":[18,8],"tags":[64,67,66,63,65],"class_list":["post-158","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-glossary","category-meeting-3","tag-copal","tag-dragons-blood","tag-elemy","tag-mastic","tag-shellac","ja"],"_links":{"self":[{"href":"https:\/\/5stringcello.com\/english\/wp-json\/wp\/v2\/posts\/158"}],"collection":[{"href":"https:\/\/5stringcello.com\/english\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/5stringcello.com\/english\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/5stringcello.com\/english\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/5stringcello.com\/english\/wp-json\/wp\/v2\/comments?post=158"}],"version-history":[{"count":171,"href":"https:\/\/5stringcello.com\/english\/wp-json\/wp\/v2\/posts\/158\/revisions"}],"predecessor-version":[{"id":2398,"href":"https:\/\/5stringcello.com\/english\/wp-json\/wp\/v2\/posts\/158\/revisions\/2398"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/5stringcello.com\/english\/wp-json\/wp\/v2\/media\/2397"}],"wp:attachment":[{"href":"https:\/\/5stringcello.com\/english\/wp-json\/wp\/v2\/media?parent=158"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/5stringcello.com\/english\/wp-json\/wp\/v2\/categories?post=158"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/5stringcello.com\/english\/wp-json\/wp\/v2\/tags?post=158"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}