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1323334.  Mon Jun 03, 2019 5:32 am Reply with quote

As a string player who has to rosin my bow each time I play, I find it fascinating about the source of this stuff.

I don't normally like Wiki entries but this does give a variety of uses.

And that the hard physical appearance can be anything from black to golden brown.

Why it is needed:

1323337.  Mon Jun 03, 2019 6:40 am Reply with quote

I was expecting something more fruity.
"Rosin" is Danish for "Raisin".


Alexander Howard
1323357.  Mon Jun 03, 2019 11:05 am Reply with quote

Some years ago my daughter came home from school bewildered with a cello and one of those helpful "Here; learn this." notes from the school. She sat down, pulled the bow across the strings, and nothing came out.

I did the usual dad thing - taking over - I drew the bow across a single string and the house was at once filled the resounding beauty of a pure note. It was the first time I had ever touched a stringed instrument and I never have since.

Think of the wonder, that the invisible vibration of a lone string can be heard at the back of a concert hall - but that it to do with resonance and the perfect shape of instrument's sound box. Somehow in the Middle Ages someone found that combination of shape, material, void and thinness and made it just right that it could not be bettered. Somehow I cannot imagine in these systematic, straight-line, tick-list, spreadsheet days that anyone would achieve its like. I may underestimate mankind though.

1323359.  Mon Jun 03, 2019 11:24 am Reply with quote

But it wasn't like that - it came out of a logical progression of experiements starting with a basic string stretched (probably) between pars of tree branches or antlers, then the addition of a fingerboard for changing notes and/or use of bowing imsted of plucking. Then came the discovery that a soundbard reflected sound forwards. Then in experimenting with different materials and shapes/sizes of soundboard came the discovery that a hollow soundboard could be louder.

After that there was extensive experimentation with materials, shapes, finishes etc to find ever different tones and voices. All of this was strictly "iterative, empirical top-down development" (aka "trial and error" - make changes and find what happens). WHat you look at in a cello is the outcome of literally hundereds of years of experimentation and development.

On a point of order - the sound box of a cello isn't "resonant". It can't be because it works over such a large frequency range. The sound box isn't a resonator - it's an accoustic transformer that increases the efficiency with which the mechanical kinetic energy of the vibrating string is converted into acoustic energy (pressure waves in the air).



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