Fifth harmonies

If 5ths are driving you nuts, it may be to do with your violin nut. Itzel Ávila explains how luthiers can help by customising the piece at the top of the fingerboard to the player’s hand

MAKING MATTERS

Points of interest to violin and bow makers

The same finger placed across two strings to create a 5th

Playing 5ths is one of the most common challenges in the development of a solid violin technique. This interval commonly gives performers headaches at various stages of their careers. Achieving the perfect tuning, sound and vibrato while playing 5ths can seem like a mystical ability, both cognitive and mechanical, for beginner, advanced and sometimes even accomplished violinists. As such, the interval has commonly been addressed as a technical problem, primarily involving the mechanics of playing. Violinists and pedagogues around the world all have their own take on how to improve 5ths as a performance problem.

Consider, for instance, the Technique article ‘“Tuning” the fingers: the importance of practising in 5ths’ (September 2019), in which British violinist Rodney Friend explains his method of aligning finger pads ‘perfectly’ across the strings, and using the wrist to improve control over vibrato and sound colour. He calls this method ‘tuning’ the fingers, asserting: ‘You have to practise everything together: rhythm, sound, position of the arm and hand, and finger angle.’

THICK, MEATY FINGERS SUCH AS PERLMAN’S WON’T PLAY 5THS IN THE SAME WAY AS SLIM AND SHARP FINGERS LIKE MIDORI’S

But what if the difficulty in playing 5ths were also a consequence of the instrument’s dimensions? In particular, what determines the distance between the strings of a violin (and viola and cello) as well as their height is the nut, which is situated at the top of the fingerboard.

A tiny difference in the grooves where the strings lie can alter this distance and height to the point where the same performer with the same instrument would need to revise their arm and hand positions, as well as the angle of the fingers, to plays 5ths properly.

This interaction between technique and the micro-design of the nut is crucial – and luthiers can make it easier to play 5ths by working with the player to find the right measurements of the nut and set-up for them. This, however, brings up a third factor that contributes to the performance of 5ths – the size and shape of the player’s hand, particularly the thickness of the fingers. These factors, are often neglected when violinists and tutors work with students on the technique.

Overlooking this aspect, I believe, has caused significant confusion. Thick, meaty fingers such as Itzhak Perlman’s won’t play the interval in the same way as slim and sharp fingers like Midori’s.

To play a relatively similar sound, each one will require slightly different hand and wrist positions, as well as a different finger angle. The so-called ‘standard’ measurements and set-up for violins come from an ancient tradition of male, Western players with similar anatomical features. As ‘classical’ music performance became global and more ethnically diverse, the same ‘standard’ measurements and set-ups became problematic. One cannot address 5ths without considering this crucial point.

FIGURE 1A template made from vanadium stainless steel, to calculate the height of the nut

The template ensures optimal precision for marking

ALL PHOTOS ITZEL ÁVILA

The template is both durable and flexible

My approach to this problem consists of optimising the violin’s set-up, taking into account the specific size and shape of the player’s hand. The first thing we consider is the thickness of the fingers. This will determine the distance between the strings, which depends on the spacing of the grooves in the nut. Contrary to established practice, such spacing can be anything but a standard measurement applicable to all violins regardless of their players. Standard spacings may work fine with ‘thick’ or ‘standard’ fingers (i.e. male, adult and Western). Thinner fingers (i.e. younger or female) will require millimetric adjustments to improve the playability of 5ths.

To what extent should a full-sized violin be adjusted? This is something that needs to be calculated by observing the hand of the musician, and may require a trial-and-error approach. As a very general rule I calculate the two end points of the spectrum as follows: for very thick, rounded, Perlman-like fingers, I set the divider at 17mm from the E to the G string. For very thin, sharp, Midori-like fingers I suggest a clearance of 15.8mm from E to G. As per regular practice, the corresponding distance for all four strings should be equal considering their diameter.

Violin makers can consider these variables in building new instruments, especially when deciding the dimensions of the pegbox and the thickness of its walls. It is crucial to leave enough room to customise the nut for a diversity of potential future owners.

Another important aspect is the articulation of the left hand when determining the height of the strings. Again, this height cannot be a standard across-the-board measurement. A stronger articulation requires a slightly higher elevation of the strings against the fingerboard, and therefore a playerspecific customisation of the nut.

Furthermore, it is important to consider the wide variety of strings available on the market. Strings requiring more tension are harder to press down and some violinists may need you to reduce the height of the strings against the fingerboard, to suit their specific articulation and bow pressure. The height of the string should leave enough room for it to vibrate freely while ensuring the player can apply pressure comfortably.

The template in figure 1 is my attempt to systematise a calculation of the shape of the nut – and therefore the height of the strings. I have taken all these variables into account to establish consistent and precise micro-measurements, which will have a huge impact in the ergonomics of performance.

One final crucial element is the material the nut is made from.

Throughout history we can find nuts made of bone, ivory, pernambuco, plastic and so on. Since setting up a violin for the optimum performance of 5ths requires a great deal of work, it is also important to use materials that will provide consistency in our work, and last for as long as possible. I recommend the traditional aged ebony, which is both strong and durable, as well as relatively easy to work with.

As mentioned earlier, each one of these points should be taken as a general reference, rather than a prescription.

In my experience, paying close attention to the hands of the player while performing, especially when it comes to 5ths, and asking them about their particular difficulties and techniques while playing them, should be a guiding principle in achieving optimal set-up of the nut for the best performance and comfort.