|
instruments for the profession |
||
|
|
Instrument Models
When an instrument maker refers to a model they are referring to the work of a master maker that they use as the basis for their own work. A maker might use a pattern from a historic instrument and adapt some of the "mannerisms" of its style or might opt for a full copy making it as identical to the original as possible. The reasons for using the work of a master maker as a model are both visual and acoustic as the sound inherent in an instrument is related in part to the way it looks. However exactly reproducing an instrument is not a simple task. This is not something i have attempted. I start with a pattern taken from a historic instrument and adapt it somewhat while maintaining a sense of the original. By examining photos and drinking in the details on the occasions that I have been able to see the original instruments I keep reforming my conceptions of what I want to make. Violins In my own work on violins I have focused on the violins of Guiseppe Guarneri del Gesu as a basis for instrument construction. His instruments appeal to me and have been proven to be a successful acoustic model. I like the creative and adaptive process that was part of Guarneri's method of working. There is a sense of variation around a central theme in his work. Using a basic pattern he was able to explore subtle changes in size and arching in an ongoing search for the sound he was after. I have been making a guarneri del Gesu model of 353mm in length. I recently produced a violin based on the work of Dominico Montagnana. This model is somewhat larger than the del Gesu at 357mm. Violas There is a much wider choice for inspiration in pattern and size when designing and building violas. I have focused on the instruments of the Brescian makers such as Gasparo da Salo and G.P. Maggini. I like the rugged look of the instruments and am drawn to the kind of sound they produce; a darker quality than I find with the Cremonese models. That said I also make a16 1/4"viola patterned after the work of Andrea Guarneri, one of the great makers of Cremona. There is much to like in the bright focussed tone of this model.
I am currently building violas in the the following models:
There are several difficulties inherent in design of the traditional viola. Some are acoustic and some are physical. Player characteristics such as length of arms or fingers may dictate limitations on the size of instrument that can comfortably play for long periods. And yet the player may be looking for a sound that only a larger viola can produce. Cutaway Model A viola designed with a shortened string length coupled with cutaway upper bouts and lower bouts indented at the endpin, may provide the player with an instrument that is larger in size and yet easily managed . Many makers are designing and building such instruments and their worth has been proven in professional situations. I have now developed and built a viola with these characteristics and it has been a satisfying project . The resulting instrument has sound qualities that are similar to my larger model violas and has playing characteristics that make it a easier to play. Shifting to higher positions on the C string is a pleasure and moving higher up the A string occurs without strain. There is enough of the upper bout next to the neck to convey the usual cues of position but the mildly indented upper bout allows the hand to reach the upper positions without stress. The indented lower section around the endpin creates a feeling of a smaller body length by conforming more comfortably to the player's neck
david prentice box 69 flesherton ON canada 519 924 3032
|
|