∬ １ ニュースヘッドライン
今回は、計画中の音楽会を紹介した「絹ヶ丘音楽通り」や、Books
on Musiccal Instruments と題した、最近購入した本の一覧を掲載しました。 ほとんどは鍵盤楽器についての本です。 これらの本は自由に閲覧できます。
また、今回より、クラヴィコードの構造について研究する Hubertgasse（フーベルトガッセ）というコーナーを設けました。 クラヴィコードについては「なぜ、ここがこうなっているの？」あるいは「どこがどう音に影響するのだろう？」という疑問点が多々あります。 そこで、最近ようやく実験して、判明した事柄を、何回か連載します。 ただし、実験が十分でなく、適切な説明がなされない場合もあるかと思います。 お気付きの折り、御指摘いただければ幸いです なお、このコーナーは読者が極めて少ないので、英語のみとします。
∬ ２ 絹ヶ丘音楽通り
「絹ヶ丘音楽通り」は、身近に色々な音楽を楽しめる架空の通りであり、絹ヶ丘一丁目会館等の屋内に具体化されます。 継続的に行っているフレスコバルディ研究会等の例会や、個別に行われるコンサートがあります。 基本的には無料ですが、今回から演奏者への募金箱を設ける予定です。 参加頂いた方々からの御意見をもとに検討した結果、当日の内容に十分満足された場合のみ、５００円程度の募金をお願いする事にしました。
１ フレスコバルディ研究会 no.6 松本直子 次回未定
２ イタリアの鍵盤音楽 渡辺玲子 １１月１９日（日）pm ２：００より 於 絹ケ丘一丁目会館
今回は、イタリア１７世紀前半の作曲家、フレスコバルディやロッシの曲を、１６世紀のイタリアの多角形ヴァージナルで演奏します。歓談や楽器の試奏時間あり。 会場の地図の用意があります。ご請求下さい。
ATTENTION → On 19th November Sunday pm2.00 at Kinugaoka-Icchome Kaikan in Hachioji,
Reiko Watanabe will play Frescobaldi, Rossi and other Italian composers, the first
half of 17th century, on a poligonal virginal based on 16th century Italian Instrument.
Free. Please ask for a map .
∬ 3 貸し出し楽器
現在、貸し出し可能な楽器は次のとおりです。
1 Double fretted clavichord 18th century German model C ~ f3
1 cherry case ,western red cedar soundboard with lid（2000 no.4）
9500円／月
2 yellow cedar case swiss pine soundboard with lid（1999 no.7）
9200円／月
3 spruce case without lid
8800円／月
2 Unfretted clavichord a = 392 Hz
12000円／月
3 Chamber organ 8' 4' mixture(2' + quint ) C ~ d3 with feeder bellows by foot （86kg ）
4 four-foot organ
9000円／月
5 Italian virginal BB~c3 after Marco Jadra 1568?
12000円／月
6 Italian harpsichord B ~ d3 8' 8' 192cm
12000円／月
7 Flemish virginal C ~ c3
9500円／月
8 English bentside spinet after Van Kamp c.1760 FF ~ f3
12000円／月
9 English bentside spinet early model BB ~ f3
12000円／月
10 18th century fretted clavichord craftsman's kit
115000円
11 18th century fretted clavichord full kit
350000円
∬ 4 Books on musical instruments （楽器についての本）
楽器についての最近入手した本です。 自由に閲覧ください。
Makers of the Harpsichord and Clavichord Donald Boalch 1956 (first edition)
Clavichorde Hubert Henkel
Early Keyboard Instruments Philip James 1960 reprint of 1930
The clavichord Bernard Brauchli
Kielklaviere Staatliches Institut fuer Musikforschung Preussischer Kulturbesitz
Catalogue of Early Keyboard Instruments at Fenton House
oude klavecimbels hun bouw en restauratie/ old harpsichords their construction and restoration
Violes, violins and virginals
The Hill collection of stringed instruments at the Ashmolean Museum, Oxford
Fabio Colonna La Sanbuca Lincea overo dell'istroment musico perfetto
(harpsichord with 31-key octave)
∬ 5 Hubertgasse （フーベルトガッセ）
第１回は「タンジェントより左側の弦の働き」についてです。
I found recently that a clavichord is made of full invention. Some beginners may think "why a part of a clavichord is made in this manner." as I ever thought and I think often. So, I would like to explain some points of clavichord structure which I actually tried on clavichord-making, and I found it important. and it makes a good result. The matter which is common with a harpsichord will be omitted. English sentences I wrote here may not always cerrect , but I try to express in a simple and clear way.
1 The work of a string on the lefthand of a tangent
I would like to begin with a work of a string on the left hand of a tangent. I had thought this part of a string has nothing to do with a tone quality because the left -hand part of the tangent is damped with listing cloth. Is the tone quality made only by the string on the righthand of a tangent and soundboard? No! You can try and put your finger on a string on the lefthand of a tangent. You will easily notice the change of a tone when you put your finger on a string. You can also put your finger at a different position on the string between the hitch pin and the tangent.. The tone you put your finger close to the hitch pin and the tone you put your finger close to the tangent sound different. Furthermore I have an experience that a good clavichord produces a good resonance when all the strings are plucked by a finger with no key pushed down. Of course strings are damped with listing cloth, yet you will hear a nice resonance. These suggested me that a string on the left of a tangent may
1 define a tone quality to a certain extent
2 works as a resonance string for another string (the whole length)
About "1 define a tone quality to a certain extent" I would like to add some explanations. This happens because the string bounds many times on the tangent in a very short time when the key is pushed down and the tangent attacked the string. The bound is so delicate that the string in the lefthand part of the tangent affects the tone. This may not be easily understood. It will be helpfull to think the following step. First "tone" is a vibration of a string. The string is pulled at a certain tension to give a certain frequency of tone when the key is played. Secondly the string will bound many times on the tangent in a different frequency from the frequency above. And this frequency will be random or changes quickly. You may feel it exceptional for an instrument to have these two sources of frequency. But I think it may be common to most instruments. For example a violin which is played with a bow, the bow rubbing the string. To rub the string with a bow is giving the string a vibration but not at the frequency the string want to vibrate. That is, the bow is not giving a vibration of the basic pitch of the string but a tone colour.
Now I would like to describe what I did to improve the tone quality. To get a free vibration between the hitch pin and the bridge (bridge pin), I thougt the following two method to achieve this. The important part is around a hitch pin, because a string often touches the hitch pin rail, and this will interfere with the free vibration. So I gave a string enough space for vibraton by.
Method A : To make a hitch pin rail lower than the bridge.
Method B : To chamfer the top of the hitch pin rail to make slope in front of hitch pins.
When a string is lifted up by a tangent, the string must be level in order to give a maximum movement to the soundboard. If the string is not level to the soundboard, the string will be vibrating the soundboard aslant and some energy will be lost . So, a hitch pin rail cannot be far lower in comparison with a top of the bridge. Now I use method B to my instruments.
About "works as a resonance string for another string" I usually use the simplest method. That is weaving the listing cloth on strings just making a single line near the tangents. This will leave a good resonance. I use not-enough-thick cloth to avoid damping completely nealy whole area except tin he bass. In the bass area thicker cloth is used to get a good balance of resonance from treble to the bass.
fig. 1 Simple sketch of clavichord along a string and terms reffered above
The hitch pin rail is shown simply as a square on this figure. Normally a clavichord has two hitch pin rails. One along the left case wall, one along the rear case wall.