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Violins and their Special Sound

This page is dedicated on offering users some information about violins and their specific sound, which makes them some of the most acoustic and recognizable instruments in the whole musical world, making them the choice of so many musicians. Consequently, almost all operas and orchestras are featuring violins, exactly because of their very subtle yet powerful sound.

Be it amateur musicians or full-time professionals, the choice of violin as a musical instrument is quite common and it offers a great degree of leniency in terms of learning prospects and the potential outcomes. Being highly portable and playable in almost any environment or entourage, the violin with its wooden construction has an distinguishable sound, which is very difficult to be mistaken to other instruments. Featuring a large acoustic “case” and corresponding strings, it enables the player to modulate the actual resulting sounds quite easily, by simply touching and pushing the strings against the wooden peg that serves as a musical “partition”.

By alternating the position of the fingers on the strings, both longitudinally and laterally, the player can achieve impressive transitions for the resulting sounds, and this is accentuated even more by the way which the bow touches the strings. Therefore, a double modulation is possible, both through the bow, which delivers the main, core sounds, as well as through the movement of fingers on the strings, which can add an extra touch, almost like a nuance to the produced sounds.

Depending on the position of the wooden bridge, the length of the neck or the thickness and rigidity of the strings, the resulting sounds can be altered with almost endless possibilities, offering the musician a great degree of flexibility and ingenuity when playing the violin.

In addition to the classic violins, the electric ones feature a piezoelectric or magnetic pickup, which captures and returns the sound, by converting it to electric signals and distributing it to corresponding speakers.

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