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T T T G.B. チェルーティ ( Giovanni Battista Ceruti 1755-1817 ) が 207年前の1791年に製作したヴァイオリンや、レアンドロ・ビジャッキ（ Giuseppe Leandro Bisiach 1864-1945 ）氏が 82年前の1910年に製作したものなど、加熱痕跡があるヴァイオリン達に学んでいた私は 2003年に153年程前に製作された 前出の ヨーゼフ・アントニオ・ロッカ（1807-1865）のヴァイオリンに出会いました。
Here Charles Bazin is cambering a stick.
In Mirecourt the bowmakers would go to the bakery when they swept the coals out of the oven. They would fill an old ‘Marmite’ or Dutch oven with coals and use them for cambering. I use an old fashioned hotplate with an exposed element to give the same even heat but in other traditions an alcohol lamp is used as well.
This is a great photo of the archetier Joseph Arthur Vigneron. Vigneron was born in Mirecourt and trained with his step father Claude Nicholas Husson. His early work is indistinguishable from the work of his master. In 1880 he relocated to Paris to work for Gand & Bernadel.
ここでは類似事例として Walter Hamma が1986年に出版した “ Violin-makers of the German School from the 17th to the 19th century ”の vol.Ⅱの125ページに掲載されている Johann Adam Popel （ Ende 17.～Anfang 18.）のビオラの写真をあげさせていただきます。
US 126848 A, US 126848A, US-A-126848, US126848 A, US126848A
発明者
C. F. Theodor Stedtway
IMPROVEMENT IN DUPLEX AGRAFFE SCALES FOR PIANO-FORTES.
UNInn STATES’ PATENT OFFICE.
G. F. THEODOR STEINWAY, 0F NEW YORK, N. Y., ASSIGNOR TO HIMSELF, .elli-BART STEINVAY, AND WILLIAM STEINWAY.
Speciiication forming part of Letters Patent No. 126,943, dated May 14, 187
To all whom it may concern:
Be it known that I, (l. I?. Trinonon S’rnnt WAY, of the city, county, and State of New York, have invented anew and Improved Duplex Agrai’e Scale for Piano-Fortes; and I do hereby declare the following to be a full, clear, and exact description thereof, which will enable those skilled in the art to make and use the saine, reference being had to the aecompanying drawing forming part ot this specification, which drawing represents a plan of a grand piano-forte with my improved scale.
My invention consists in brin ging the vibrations of that portion or’ the string which is situated between the agrade and the tuningpin, in proportion to those ot’ the main portion of the string, in such a manner that the tone produced by said a gratie section is brought in harmony with that of the main section, and thereby the purity and fullness of the tone of the instrument is materially increased, also,4
in bringing the longitudinal vibrations of that portion ot’ the string which is situated between the sounding-board bridge and the hitch-pin in proportion to the vibrations of the main section of the string, so that the sounds due to these longitudinal vibrations are brought in harmony with the tone ot the main section of the string, and the purity and fullness of the tone of the instrument is improved.
In order to enable others to understand my invention, I will here remark that the term scale77 of a piano-torte comprises the position of the strings side by side or above each other, their length and thickness and their tension; and my improvement is applicable to all stringed instruments in which the sounds are produced by the action ol hammers.
If the bass tones of a stringed hammer instrument are sounded -irom octave to octave toward the trcblea great diiierence appears in the effect of the various strings, according to their length, as far as the partial tones of the strings are concerned, which are duc to the spontaneous subdivisions of said strings in halves, quarters, eighths, sikteenths, 85o. rl’he longest duration ofthe vibrations and the highest quality’ to subdivide in partial tones is found in the strings between the contra C and the small c. Within these limits each string subdivides itseli` by the blows of the hammer and by the transverse vibrations due to the same in a large number of nodes whereby the so-called harmonic overtones are produced, and whereby the fundamental tone is rendered rich and brilliant. At the same time this portion of the strings, particularly, produces, by the longitudinal vibrations, a number of unharmonic side tones, making a whistling sound, which disturbs the purity of the tone. Both these qualities disappear as the height of the tone increases, so that the limit of producing a pure fundamental tone is found at a4, while it is in most cases desirable to obtain a clear tone from c5,- but the inherent firmness of the thick strings generally employed, and the great tension required on account of thickness prevents the string ot’ the above-named o5 to make the proper transverse vibrations due to the fundamental tone, and a division into partial tones is out of thc question. In order to eft’ect or promote the subdivision of the string and to produce the desired partial tones, I combine with that portion of the string which is situated between the tuning-pin a (see drawing) and the main agrafte b a secondary agratt’e, c, which supports the string and is placed at a distance from the main agrae corresponding to one of the above-named subdivisions of the main section d oi’ the stringthat is to say, at a distance equal to l, l, 15, or of the length of the main section, or to any combination ot’ these fractions. The main agrafte Z), which supports the string only at one point, allows the transverse vibrations to extend to that part of the string between the said agrafte and the tuning-pin, the vibration of this part being in a direction opposite to that of the main section of the string. By inserting the second agrafi’e c at a distance from the main agraffe equal to gf, gg, ,15, 517 or E13 of the length of the main section oi the string, the subdivision of the string into partial vibrations, and the consequent production of harinonic overtones is effected or promoted7 and a clear, strong, and brilliant tone is obtained up to the highest note.
In the drawing I have marked opposite to each tuning-pin the proportion existing between the distance of the two agra’es and the length of the main section of the string.
By allowing the vibration of the strin g to extend beyond the main agraie the durability of the string is materially increased, since by cutting oft` the vibration of the string at this bration of the strings, I avoid by supporting that portion of the string between the sounding-board bridge and the hitch-pin at distances from the outer bridge-pins equal to l, or 51T of the length of the main portion of each string, or kto any combination 0f these fractions. By the sounding-board bridge the continuation of the transverse vibrations must necessarily be interrupted, owing to the width of the bridge supporting the string, whereby these vibrations are ei’ectually stopped; but particularly With strings of’great thickness, as generally used in piano-fortes of recent construction, the longitudinal vibrations ofthe strings .extend to those portions which are situated between the kbridge and the hitchpins; and in order to avoid unharmonic tones due to these longitudinal vibrations I apply between the bridge and the hitch-pin g, under each string, a support, e, at a distance from the outer bridge-pinf, corresponding to T15, 3 1? or of the length of the main section d of the’ string, or to any combination of these fractions.
In the drawing I have marked opposite to each hitch-pin the proportion existing between the distance from the support c to the bridgepin and the length of the main section of the string. By these means the unharmonic tones due to the longitudinal vibrations ofthe strings are converted into harmonious tones, whichl being transmitted through. the bridge to the sounding-board reach the ear and strengthenl and enrich the fundamental vtone of the string, instead of disturbing the purity thereof, as heretofore. The supports c and e may be made of metal, ivory, or any other material capable of resisting the pressure of the string.
What I claim as new, and desire to secure by Letters Patent, is
l. rIhe arrangement, in a piano-forte, of a g series of successive strings, in each of which the vibrations of that portion situated between the agraie and tuning-pin are brought in har- Witnesses W. HAUFF, E. F. KASTENHUBER.
そして表板ジョイントの剥がれを撮影しようと私が表板をさわっていたら『 パキッ 』という音とともにバスバーが外れてしまいました。
このピグマリウス『 REBIRTH（リバース）』シリーズのヴァイオリンは魂柱（ Soundpost ）が立っていた部分が表板、裏板ともすでに窪みができていました。
“Pygmalius Derius” Violin ( Special – G ) 2007年製
“Pygmalius Derius” Violin ( Special – G ) 2007年製
私が 加熱痕跡の読み方について確信を得たのは 15年程前にこの
Giuseppe Leandro Bisiach ( 1864-1945 ) violin, Milano 1910年
Giuseppe Leandro Bisiach ( 1864-1945 ) violin, Milano 1910年
Giuseppe Leandro Bisiach ( 1864-1945 ) violin, Milano 1910年
Andrea Amati ( ca.1505–1577 ) Cremona, Violin 1555年頃
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G.B. チェルーティ ( Giovanni Battista Ceruti 1755-1817 ) が 207年前の1791年に製作したヴァイオリンや、
そして 精査した結果いくつもの状況証拠により、私はこのヴァイオリンにある このような加熱痕跡も『 製作者本人が製作時に 加えたもの。』と判断しました。
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Gaspar da Saló / Violoncello
それから‥この浮世絵は 葛飾北斎、歌川広重らと同時代に活躍した歌川国芳（ 1797 – 1861 ）が1831年頃（ 天保2年 ）に製作した「東都三ツ股の図」です。
Here Charles Bazin is cambering a stick.
This is a great photo of the archetier Joseph Arthur Vigneron. Vigneron was born in Mirecourt and trained with his step father Claude Nicholas Husson. His early work is indistinguishable from the work of his master. In 1880 he relocated to Paris to work for Gand & Bernadel.
現代の楽弓製作者も スティックの ベンディングのための熱源こそ 電熱ヒーター、
Andrea Guarneri ( 1623 – 1698 ) violin, Cremona 1658年
Front of the Guarneri del Gesù
Antonio Gragnani violin, Livorno
Nicolò Amati ( 1596–1684 ) Violin 1640年
私の経験では、ヴァイオリンやチェロで一般に使用されている弦はフラットワウンド弦が多いので 、張ってから時間が経つと内部のずれなどの影響で一番外側の平らなベルト状金属に隙間ができてしまい、駒の弦溝やナットの弦溝部でのすべりが悪くなっていることが 多いようです。
私は TORO社のテールガットを本結び（ リーフノットまたはヘラクレスの結び ）で 長さの調整をして使用しています。弦楽器に取り付ける場合の技術的な熟練には数年を要しましたが、私はこの製品を使用していて今までほとんど不都合を感じたことがありません。
TORO 直径 No.230（ Contrabass G string ）
TORO 直径 No.220（ Viola tail gut ）
TORO 直径 No.200（ Violin tail gut ）
ここで反対側のガット端の工程に移ります。長さは おなじく 7.0mm位とします。
こちらも、こんな感じに加工します。
Giuseppe Guarneri del Gesù / The back thickness
Jacob Stainer / The back thickness
この例として アンドレア・アマティが 1555年頃に製作したと考えられるヴァイオリンと ニコロ・アマティ ( 1596–1684 ) の 1651年製、そして 
左側の アンドレア・アマティ ( ca.1505-1577 ) のヴァイオリンにおける 点
“Varnish crack” 1970年製 
Cittern / English ( Length 616mm – String length 340 ) 1600年頃
Gasparo da Salò / Violoncello
Andrea Amati ( ca.1505-1577 ) , Violin “Charles Ⅸ” 1566年頃
Andrea Amati ( ca.1505–1577 ) , Violin 1555年頃
Nicolò Amati ( 1596–1684 ) , Violin 1651年
Antonio Stradivari ( 1644-1737 ) Violin “Rode – Le Nestor” 1733年
