|This article needs additional citations for verification. (September 2012)|
- 1 Musical directions for muting
- 2 String
- 3 Brass
- 4 Woodwind
- 5 Percussion
- 6 Piano
- 7 See also
- 8 References
- 9 External links
Musical directions for muting
The use of a mute is usually indicated in musical notation by the direction con sordino (often abbreviated con sord, sord, sordino). (Sordina, with plural sordine, is the strictly correct Italian term for mute as used on string instruments; but the forms con sordino, senza sordino, sordino via, etc., are much more commonly used as terms in music than the forms con sordina, senza sordine, etc.) The mute should be removed with the senza sordino (or senza sord, senza sordina, etc.) direction.
When written in English the directions, "mute" and "open" (for brass instruments) or "unmute" (for stringed instruments) are used.
The equivalent German terms for "with mute" ("mute on") are mit Dämpfer (Dämpfer auf), and for "without mute" ("mute off") are ohne Dämpfer (Dämpfer ab/weg). The word Dämpfer is cognate to English "damper".
In French music, the word for the mute is sourdine.
In the case of strings, mute-on and mute-off indications are often written into their parts by players in the form of signs. These are used as extra visual aids, and for when the printed notation may not be adequately salient. An example is Mahler's Symphony No. 4 in which mutes have to be put on and taken off frequently, and the printed directions are in German.
On string instruments of the violin family, the mute takes the form of a device attached to the bridge of the instrument, dampening vibrations and resulting in a "softer" sound. Usually this takes the form of a small three-prong implement which is attached to the top of the bridge with one prong between each pair of strings, although anything which stops the bridge vibrating will suffice, and sprung clothes pegs, for example, have been used.
A famous use of string mutes is in the introduction of Prokofiev's Romeo and Juliet. All the strings are muted (con sordini) so the sound appears to grow out of the initial discord, as if appearing from nothing. The sound is softer and more lyrical and flowing.
A more modern invention is a mute which sits on the strings between the bridge and tailpiece of the instrument. This is slid into place right next to the bridge to produce the same effect as the detachable three-pronged mutes.
Practice (i.e. hotel)
Heavy practice mutes or hotel mutes are available for string instruments. These also fix onto the bridge of the instrument and reduce its loudness. Recently, practice mutes have been used in contemporary music for a special color, appearing in works as diverse as those by John Corigliano and Gérard Grisey.
On the cello, a wolf mute is often attached to the G-string between the bridge and the tailpiece. This does not change the timbre of the instrument on the whole, but helps to eliminate the wolf tone which is found on many cellos around a sixth or seventh above the open G-string. When used to eliminate wolf tones on a double bass, it is often attached on the A-string.
The violin mute was first described by Marin Mersenne in 1636. One of the earliest examples in the use of muted string instruments is found in Act II of Jean-Baptiste Lully's Armide, when the entire string section sporadically plays with mutes. However, the use of mutes did not become widespread in classical music until the 19th century when romantic composers sought new timbres from the orchestra. By the 20th century, the use of mutes was common.
Electric guitars and basses
On the guitar, a player may palm mute their guitar. To palm mute, the player uses the side of their hand, or the edge of their palm, closest to the bridge to cover the strings. This shortens the sustain significantly causing a muting effect. This is a very common technique in rock guitar and bass.
The Fender Jaguar has a built-in but removable, spring-loaded string dampening device installed near the bridge of the guitar that can be utilized to simulate the palm mute technique a