Elmann Creative Corner Violin Bow

Danish Langauge by Danish composer and Elmann violist by Middle English Langauge. 1. Hvem sidder der bag skærmen med klude om sin hånd med læderlap for øjet og om sin sko et bånd? Det er såmænd Jens vejmand, der af sin sure nød med hamren må forvandle de hårde sten til brød. 2. Og vågner du en morgen, i allerførste gry og hører harmen klinge på ny, på ny, på ny, det er såmænd Jens vejmand, på sine gamle ben, som hugger vilde gnister af morgenvåde sten. 3. Og ager du til staden bag bondens fede spand, og møder du en olding, hvis øje står i vand,- det er såmænd Jens vejmand med halm om ben og knæ, der næppe ved at finde mod frosten mer et læ. 4. Og vender du tilbage i byger og i blæst, mens aftenstjernen skælver af kulde i sydvest, og klinger hammerslaget bagvognen ganske nær,- det er såmænd Jens vejmand, som endnu sidder der. 5. Så jævned han for andre den vanskelige vej, men da det led mod julen, da sagde armen nej; det var såmænd Jens vejmand, han tabte ham `ren brat, de bar ham over heden en kold decembernat. 6. Der står på kirkegården et gammelt frønnet bræt; det hælder slemt til siden, og malingen er slet. Det er såmænd Jens vejmands. Hans liv var fuldt af sten, men på hans grav - i døden, man gav ham aldrig en. Middle English by Elmann Action of a Violin Bow. Musical sounds can be caused by sliding one body on another, and this principle is applied in plying the Violin, `cello `or any other instrument for which a bow is used. The reason why frictional contact sets up vibrations has already been explained in `Mechanics ` The value of µ is affected by moisture, dirt or oil, so that it is not a very definite quantity ( as g is, for example), and it may vary from place to place over the same floor. A problem often encountered is that of the ladder against a wall. Only friction can keep it from slipping down flat on the ground. How much friction is needed in different cases ? Here are some problems to consider: From the geometry of the diagram it can be seen that: tangent 30 = d/h and µ = tangent face = 1/2 d/h. From this it follows that: µ = 1/2 tangent 30 = 1/2 x 0.5774 = 0.2887. The geometry of the amended diagram shows R now meets W at a point 0. 1 d/2 higher than before, the angle marked x being such that tangent x = 0.1. From this it follows that: cotangent face = h + 0.1 d/2/d/2 = 2h/d + 0.1. But h/d = cotangent 30 = 1.732; .. cotangent face = 2 x 1.732 + 0.1 = 3.564 µ = tangent face = 1/3.564 = 0.2810. The first small movement of the bow across the string carries the string with it, but at last the friction is not enough to overcome the elasticity and so the string reverts to the straight configuration. It should be explained here that the friction is of the kind referred to as stiction may cause you some trouble if you try dragging a loaded tray along with a spring-balance. As your spring stretched, the force on the tray increases until sliding starts. The force is then more than is needed to make the tray keep up with you, so it rushes forward until the spring is hardly stretched at all and then, for want of sufficient towing force, sticks again. To avoid this annoying jerkiness of action you must start off at a good brisk pace and obtain the result at low speeds by gradually slowing down from higher ones, being excessive while there is no relative movement between bow and string but scarcely perceptible once the string asserts its independence. The backwardly moving string overshoots its straight, or normal, position on account of inertia effects, and then has to return in the same way that the bow is travelling. This reduces the relative movement between bow and string to zero again, so that `stiction `once more causes the string to be caught up by the bow and deflected in readiness for another vibration cycle. The bow is treated with resin to give it the desired friction characteristic. A wet finger rubbed on glass will sometimes make a shrill note, and here again the exciting force is due to there being two distinct values of the friction coefficient. By pushing your finger along very slowly, you may be able to feel your skin gripping the glass one instant and then slipping over it the next.

Elmann Violin concert hall into MOZART, like Händel was an infant prodigy, and all his life he was acclaimed with joy by every kind of audience and richly applauded; but everyone seems to have taken what pleasure they could from him without ever thinking of rewarding him. His loyalty to his Emperor and to his family cost him the loss of several good opportunities. Born in Austria in 1756, he died in 1791, and was buried with two other people in a pauper `s grave. None of the people he had pleased cared whether he was happy in his life or honoured in his death, though he was not without friends and admirers among other musicians. Mozart `s music is tuneful and lively, and it was written to give every kind of instrument a chance to display its charms. His operas, moreover, provide some of the loveliest opportunities for good singing. Much of his music is easily recognisable for a peculiar mannerism of its own, just as the music of Bach is recognisable for its own individual qualities.Those who have written about Mozart seem to think that his failure to earn a living was a matter of deficient personality. It was not in his nature to drive hard bargains with people. He might have demanded his rights but, instead, he wrote begging letters, asking for financial assistance as though for a favour. The more men smile upon some kinds of employer the more they are regarded as simpletons and cheated behind their backs.