F Hole
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This options let you choose decorative F-Holes on certain chambered or hollow bodies.
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использует защитную технологию, которая является устаревшей и уязвимой для атаки. Злоумышленник может легко выявить информацию, которая, как вы думали, находится в безопасности.
In the musical world it is know as the acoustic holes to the left and right of the fingerboard and bridge. Not to be confused with the dirty minded other interpretations
Don't stick anything in my f hole you might break my instrument .
An "F hole" is the curlicued hole cut into the front of a stringed instrument .
There was also a Seattle-area rock band in the 1980s called " The F Holes" which gave a lot of people the wrong idea.
All violins, violas, cellos and double basses have 2 holes either side of their bridge . These are, in fact, the instruments 'pair' of vaginas .
Dude, what are f holes ? F holes are it's pair of vaginas . That's how string instrumets mate. Endpin > either of the vaginas.
John wanting to change apartment-
"man, I can't wait to move out of this F-hole"
Connecting music, technology, history, and people at the Eastman School of Music
One the most notable features of the modern bowed string instrument family is that of the so called “f holes” located centrally on either side of the instruments’ main bodies. These in particular contrast with the single circular shaped sound hole located in the center of an acoustic guitar. In the guitar’s case, the single circular hole has been a staple of the instrument’s design for centuries. In the case of the violin and other bowed string instrument, the f hole is a product of years of development through trial and error.
The earliest bowed string instruments actually had the same circular hole design as the guitar. This probably occurred as some of the first instruments to be played with bows were simply lutes, whose main performance technique remained plucking. However, as bowing took off as a genuine technique in its own right, the makers of such stringed instruments found that the circular sound holes did not produce the desired results. And so, they began experimenting with other designs.
In the 10th and 11th centuries, the single circular hole was replaced by two separate circular holes on opposite sides of the instrument’s body, much as the modern f holes are located today. This double design produced a greater acoustic clarity for bowed instruments than the single holes did, but it was still far from perfect. And so, the experimenting continued.
By the 12th and 13th centuries, the circular holes were replaced with half moon shaped holes, followed quickly by C shaped holes. These, combined with improvements in the technology of the bow itself contributed to a new era in the evolution of the bowed string instruments. These C holes were so successful, that while they went through many phases of stylization through the centuries to come, they remained a staple through the early baroque. In fact, many baroque string instruments retain the C shaped sound holes. However, by the high baroque, influential luthiers – most notably Nicolo Amati – began creating instruments whose sound holes were shaped like an f . This new design caught on rapidly, and remains in use today, with slight variations between different makers. Guarnieri, for example, favored a longer and narrower design, while Stradivarius’s design was wider and shorter.
Viola Da Gamba with C shaped sound hole
The reason for the adoption of the f shape is not entirely clear. However, a separate blog I found poses an interesting theory: namely, that the holes are not intended to be f – shaped. Rather, the shape is intended as a stylized s , which in turn stood for “sound” in various languages. Whether this theory is accurate is up to debate, but in either case, the f hole (or s hole), is now an integral part of the design of any modern bowed string instrument. (side note, the f hole is also shaped like the symbol for integral: ∫ )
Interestingly enough, an MIT study from 2015 (in sources) has discovered that the f-hole is actually the ideal shape for sound production. The vibrations from the f-holes carry longer and louder than that of any other shape on the bowed string instruments, as it is most suited to the sonic vibrations and air flow that bowing the strings produces.
It is a curious coincidence that this ideal shape was stumbled upon by what amounts to accident. While I am certain that the early luthiers could empirically ascertain the superiority of the f-holes, they undoubtedly were unable to replicate the detailed acoustic physics calculations of the MIT researchers.
As a violinist, I am actually rather pleased with the concept of a chance occurrence driving the evolution of an important part of my instrument. After all, so much of what goes into a good performance is created by chance – the atmosphere of the hall, the artist’s current mood, avoiding an unfortunate mistake – that having the creation of your instrument be coincidental is rather comforting.
I thought this post was very informative! I knew that F holes were used to help sound production but I never knew that they progressed from a c hole shape or from a round hole in the middle. While it was informative, I didn’t get a lot of your personal opinion or perspective until the little bit at the end. Do you ever use the older model instruments for certain pieces? Trumpet players sometimes use different style horns for certain composers or period pieces. If we’re playing a solo from the 1930’s we might play a cornet but if it’s something from the baroque era we’ll bring out a baroque trumpet if we have one. Also, do you prefer the tone quality of one type of instrument over the other? I personally really like the sounds of conical bored instruments, especially the euphonium, cornet, and flugelhorn. Like, do you think a lute or guitar has a beautiful tone in comparison to what you’re used to on violin?
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