| Article Index |
|---|
| Normal Tuning of the Zither |
| Background |
| Fingerboard pitches |
| Accompaniment strings |
| Logic for using the circle of fifths |
| Putting things together |
| Summary |
| All Pages |
Page 3 of 7
Fingerboard pitches
FIrst let's look at the arrangement of the fingerboard (Griffbrett) strings. See also the diagram showing the layout of the Zither.
The fingerboard strings are tuned exactly like the cello, with the exception that the a' string is duplicated. The strings are typically numbered starting from the string closest to the player.
These are the pitches for fingerboard of the most commonly used Concert Zither, the Descant-Zither. The Quint-Zither is pitched a fifth higher than the Descant-Zither, with the fingerboard strings tuned to e'' e'' a' d' g. The Alt-Zither is pitched a fourth below the Descant-Zither, therefore an octave below the Quint-Zither. Its fingerboard strings are tuned to e' e' a d G. Rounding out the Zither quartet, the Bass-Zither is tuned an octave below the Descant-Zither: a a d G C. See also the notation naming convention diagram. Ernst Volkmann compares the ranges of the Zithers of the Zither quartet to the violin family in a diagram.
Like the guitar, the frets of the Zither fingerboard are spaced semitones apart.
Like the guitar, the frets of the Zither fingerboard are spaced semitones apart.
Click to enlarge"
The fingerboard usually has 29 frets. Some musicians request that their Zithers be made with 24 frets, or they will have the 5 highest frets removed by a competent instrument repair-person. This allows one to pluck the fingerboard strings further away from the bridge to produce a somewhat mellower tone. Of course one can still play closer to the bridge (sul ponticello / am Steg) to achieve a brighter sound. 24 frets cover 2 octaves on each string. The unison first and second strings make it easier to "walk" up the fingerboard, especially for the highest pitches between the closely-spaced frets 12 and 24, as well as for forming some chords.
Mother-of-pearl (or other material) inlays next to frets 5, 9, 12, 15 17, 21, and 24 provide visual references that ease finding notes on the fingerboard. The markers at frets 12 and 24 denote the first and second octaves.
The overlaps in scales between strings give the player options to play the same pitch. For instance, c" can be played on frets:
Note that some composers take advantage of the timbre nuances for the same pitch played on different fingerboard strings as well as the accompaniment strings. The player can lay down a "sonic carpet" (Klangteppich) where repeated notes are played on different strings. For instance, Isolde Jordan incorporates this kind of technique in her pieces called Mikroludium (e.g., numbers 1 and 10). Peter Kiesewetter frequently uses the sonic carpet technique in his works for the Zither. A great example can be found in his "GIL" works (GIL is Hebrew for Peace) -- number 23 "Am Gitter". Through most of the piece Kiesewetter creates a sonic carpet on a unison, by rhythmically alternating between open d' on the fingerboard and the d' (6th of the accompaniment strings). The effect is one of a shimmering substrate of sound. Kiesewetter's titles provide clues as to the images a piece evokes. "Am Gitter," literally means "on a lattice," and can also mean "trellis." He creates variety through rhythmic variations, dynamics, and tone clusters that punctuate various measures. Perhaps the tone clusters can be viewed as flowers that bloom on a vine crawling up a trellis.
Mother-of-pearl (or other material) inlays next to frets 5, 9, 12, 15 17, 21, and 24 provide visual references that ease finding notes on the fingerboard. The markers at frets 12 and 24 denote the first and second octaves.
The overlaps in scales between strings give the player options to play the same pitch. For instance, c" can be played on frets:
- 3 of the a' string
- 10 of the d' string
- 17 of the g string
- 24 of the c string
Note that some composers take advantage of the timbre nuances for the same pitch played on different fingerboard strings as well as the accompaniment strings. The player can lay down a "sonic carpet" (Klangteppich) where repeated notes are played on different strings. For instance, Isolde Jordan incorporates this kind of technique in her pieces called Mikroludium (e.g., numbers 1 and 10). Peter Kiesewetter frequently uses the sonic carpet technique in his works for the Zither. A great example can be found in his "GIL" works (GIL is Hebrew for Peace) -- number 23 "Am Gitter". Through most of the piece Kiesewetter creates a sonic carpet on a unison, by rhythmically alternating between open d' on the fingerboard and the d' (6th of the accompaniment strings). The effect is one of a shimmering substrate of sound. Kiesewetter's titles provide clues as to the images a piece evokes. "Am Gitter," literally means "on a lattice," and can also mean "trellis." He creates variety through rhythmic variations, dynamics, and tone clusters that punctuate various measures. Perhaps the tone clusters can be viewed as flowers that bloom on a vine crawling up a trellis.
The player can also create the effect of an echo by repeating a sequence of notes in a different position.
