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Violin construction and mechanics - Neck

Violin construction and mechanics - Neck: Encyclopedia II - Violin construction and mechanics - Neck

The neck is usually maple with a flamed figure compatible with that of the ribs and back. It carries the fingerboard, typically made of ebony, but often some other wood stained or painted black. Ebony is considered the preferred material because of its hardness, beauty, and superior resistance to wear. Some very old violins were made with maple fingerboards, carrying a veneer of ebony. At the peg end of the fingerboard sits a small ebony or ivory nut, infrequently called the upper saddle, with grooves to position the strings as they lead int ...

See also:

Violin construction and mechanics, Violin construction and mechanics - Body, Violin construction and mechanics - Top, Violin construction and mechanics - Back and ribs, Violin construction and mechanics - Neck, Violin construction and mechanics - Bridge, Violin construction and mechanics - Sound post, Violin construction and mechanics - Tailpiece, Violin construction and mechanics - Pegs

Violin construction and mechanics, Violin construction and mechanics - Back and ribs, Violin construction and mechanics - Body, Violin construction and mechanics - Bridge, Violin construction and mechanics - Neck, Violin construction and mechanics - Pegs, Violin construction and mechanics - Sound post, Violin construction and mechanics - Tailpiece, Violin construction and mechanics - Top

Violin construction and mechanics: Encyclopedia II - Violin construction and mechanics - Neck



Violin construction and mechanics - Neck

The neck is usually maple with a flamed figure compatible with that of the ribs and back. It carries the fingerboard, typically made of ebony, but often some other wood stained or painted black. Ebony is considered the preferred material because of its hardness, beauty, and superior resistance to wear. Some very old violins were made with maple fingerboards, carrying a veneer of ebony. At the peg end of the fingerboard sits a small ebony or ivory nut, infrequently called the upper saddle, with grooves to position the strings as they lead into the pegbox. The scroll at the end of the pegbox provides essential mass to tune the fundamental body resonance of the instrument, and provides a convenient grip for spare fingers to brace against when tuning one-handed, with the violin on the shoulder. Some "scrolls" are carved representations of animal or human heads, instead of the classical spiral volute most normally seen.

The maple neck alone is not strong enough to support the tension of the strings without distorting, relying for that strength on its lamination with the fingerboard. For this reason, if a fingerboard comes loose (it happens) it is vital to slacken the strings immediately. The shape of the neck and fingerboard affect how easily the violin may be played. Fingerboards are dressed to a particular transverse curve, and have a small lengthwise "scoop," or concavity, slightly more pronounced on the lower strings, especially when meant for gut or synthetic strings. The neck itself is not varnished, but is polished and perhaps lightly sealed, to allow ease and rapidity of shifting between positions.

Some old violins (and some made to appear old) have a grafted scroll, or a seam between the pegbox and neck itself. Many authentic old instruments have had their necks reset to a slightly increased angle, and lengthened by about a centimeter. The neck graft allows the original scroll to be kept with a Baroque violin when bringing its neck to conformance with modern standard.




Adapted from the Wikipedia article "Neck", under the G.N U Free Docmentation License. Please also see http://en.wikipedia.org/wiki

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