The code is the most important component on the violin, and there seems to be no specialized book on the study of the code at present. Based on my current research on the code, there is infinite mystery. The height, width, thickness, and thickness of the code are all related to the sound of the violin, and the strings are related to the sound color of the violin In terms of the three major components of the qin, the qin code and the sound column (as for the quality of the qin itself, it will not be discussed here), the qin code accounts for 80%, and the rest each accounts for 10%. If the qin code is too high and the distance between the strings and the fingerboard is too high, it will affect the speed of finger string changing, making it difficult to play fast music. This is also the reason why many people like to play low pitch music. However, the degree to which the low pitch music is low depends on the specific requirements. The curvature of each qin is different, and it is related to the movement of the bow, The height of the E-string is the most principled, and the height of the E-string should be determined first. The up and down movement of the bow should be based on the principle of not rubbing against the edge of the piano arc to determine the height of the right side of the code. If pine ash is found on the right edge of the piano, it indicates that the right side of the code is low and should be appropriately increased. The arch degree of each piano is different, and determining the height of the code based on the same principle will produce the following effect. The higher the arch degree of the piano, the lower the code, and the lower the distance between the string and the fingerboard. If the arch degree is not enough, the corresponding effect will be the opposite.

I have 6 violins, and based on the height of the E-string and fingerboard of each violin, the highest distance between the E-string and fingerboard is 4 millimeters, and the lowest is 2.5 millimeters. This distance is also related to the timbre of each violin. The higher the size of the violin, the louder the volume, but there is also a lot of noise and sand. The lower the size of the violin, the purer the timbre. The wider the size, the narrower the size, the thicker the size, and the thinner the size. Therefore, it has been determined that E The height of the strings can be determined by the curvature of the fingerboard to determine the height of other strings. The tuning of the piano size is not to make it neat and balanced, but to determine it based on the pronunciation of the piano. If the bass pronunciation is too small, the left side of the piano size can be raised and thinned, and if the treble pronunciation is too small, the right side can be thinned to adjust the balance of the volume. Another point is that it is not easy to choose a suitable piano size for each piano, and it is difficult to pick one out of ten. The selection of the piano size should be based on the characteristics of each piano. If the pronunciation of the piano is too large, a dense wooden size should be selected. If the pronunciation of the piano is too small, a loose wooden size should be selected. If the quality of the piano is poor, a thick size should be used. Code, when the piano is good, use a slightly thinner code. The lighter the code, the better the pronunciation effect, indicating that the piano is a good one. If the piano is poor, use a light code, and the sound will be dry and lifeless. This is also a method of testing the piano. Piano size is a crucial factor in determining timbre, and there are also certain methods for modifying it. I have adjusted dozens of pianos in this regard before summarizing this experience. However, I currently do not have a camera or recording equipment in Kunming, so I cannot upload images. When I return home, I will definitely send everyone an image and recording for further discussion.