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109:. He used simultaneous measurements of the vibrating string and the vibrating body of the cello, to show that the warbling sound is caused by an alternation of two different types of string vibration. All bowed string vibration is “stick-slip oscillation”. One of the vibration types involves a single slip in every cycle of the note, but the other type involves two slips per cycle.
53:. A wolf tone is hard for the player to control: instead of a solid tone it tends to produce a thin “surface” sound, sometimes jumping to the octave of the intended note. In extreme cases, a “stuttering” or “warbling” sound is produced, as in the sound example. This sound may be likened to the
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A brass wolf tone eliminator typically placed on the G string (second string from the left) of a cello, between the bridge and the tailpiece. (The black rubber piece on the D string (third from the left) is a
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An older device on cellos was a fifth string that could be tuned to the wolf frequency; fingering an octave above or below also attenuates the effect somewhat, as does the trick of squeezing with the knees.
45:", is an undesirable phenomenon that occurs in some bowed-string instruments, most famously in the cello. It happens when the pitch of the played note is close to a particularly strong natural
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140:. The position of the tube must be adjusted so that the short section of string resonates exactly at the frequency at which the wolf occurs. It works in the same way as a
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Wilkins, R.A.; Pan, J.; Sun, H. (Fall 2013). "An
Empirical Investigation into the Mechanism of Cello Wolf-Tone Beats".
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Wilkins, R.A.; Pan, J.; Sun, H. (Fall 2013). "An
Investigation into the Techniques for Controlling Cello Wolf-Tones".
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This article is about a phenomenon in musical instruments. For similar sounding terms, see
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Frequently, the wolf is present on or in between the pitches E and F
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wrote a piece (evidently reworked as the second movement of the
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163:'s new cello, there is no clear evidence that this occurred.
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The physics behind the warbling wolf was first explained by
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362:"Versuche zur Entstehung des Wolfs bei Violininstrumenten"
61:. A somewhat similar sound is the beating produced by a
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Aitchison, Robin; Mnatzaganian, Sarah (Spring 2005).
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289:Mottola's Cyclopedic Dictionary of Lutherie Terms
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385:The Journal of the Acoustical Society of America
383:Firth, Ian M. (1973). "The wolf in the cello".
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315:"On the "Wolf-note" of the Violin and Cello"
170:for realisation exclusively by the cellist
426:. Robin Aitchison and Sarah Mnatzaganian.
263:"How to Tame Annoying Howling Wolf Tones"
65:, which is usually the interval between E
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456:Journal of the Violin Society of America
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439:"Who's Afraid of the Big Bad Wolf?"
292:. LiutaioMottola.com. p. 178.
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23:. For the Irish Republican, see
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157:Suite for Cello and Harp
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360:DĂĽnnwald, H. (1979).
313:Raman, C. V. (1916).
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232:Mechanical resonance
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88:Stringed instruments
420:"Taming Wolf Notes"
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25:Wolfe Tone
494:Resonance
196:Wolf Tone
39:wolf tone
366:Acustica
178:See also
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128:on the
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