Sordun is a family of archaic

wind instrument A wind instrument is a musical instrument that contains some type of resonator (usually a tube) in which a column of air is set into vibration by the player blowing into (or over) a mouthpiece set at or near the end of the resonator. The pitch ...

s blown by means of a double reed (sordone or sordun, etc.)

Etymology

Sordun originates from the Italian word Sordino. The primary Italian word in use in these specialised terms is a feminine noun: ''sordina'', with plural ''sordine''; but in international musical terminology a masculine form is much more common: ''sordino'', with plural ''sordini''. The Italian word is derived as a feminine

diminutive A diminutive is a word obtained by modifying a root word to convey a slighter degree of its root meaning, either to convey the smallness of the object or quality named, or to convey a sense of intimacy or endearment, and sometimes to belittle s ...

of the adjective ''sordo'' ("deaf", "dull in sound"),''Oxford Paravia Dictionary'', 2nd edition, 2006 from Latin ''surdus''. The alternative forms given above would have as plurals ''sordini'', ''sordoni'', ''sorduni''. The French version of the word is feminine, and is sometimes used in music notation also: ''sourdine'', plural ''sourdines''. Other languages' versions are also feminine: Spanish has ''sordina'', plural ''sordinas''; Portuguese has ''surdina'', plural ''surdinas''.

Ancient instruments

The sordun or sordoni family are often confused with the '' dolcians'' (Fr. ''courtaud'', Eng. ''single curtail'' or ''single curtal'', Ger. ''Kort'' or ''Kortholt''), from which, however, they differed radically. This difference was not understood by Praetorius, who acknowledges his mystification. The contra-bass sordun, he says, hardly half the length of the contra-fagotto, is yet practically of the same pitch, which is astonishing since the bore is only double once upon itself as in the fagotto. The kort likewise is of the same size as the bass sordun, and yet in pitch it is but a tenor. The following description of the construction and acoustic properties of the sordoni will clear up the mystery. The body consisted of a cylinder of wood in which were cut two parallel channels of narrow cylindrical bore, communicating with each other at the bottom through a bend, but not with ambient air. At the top of the cylinder was fitted a double-reed mouthpiece giving access to the column of air at one end of the bore, while the other was vented through a small hole in the side, similar to the finger-holes; in the tenor, bass and contra members of the family, the reed was attached to a curved brass crook similar to that of the fagotto. So far the description would almost apply to the dolcian also, but in the latter there is the radical difference that the bore of the channels is conical, so that it has the acoustic properties of the open pipe. The sordun, however, having a cylindrical bore, has the acoustic properties of the stopped pipe, i.e. the sound waves are twice the length of the pipe, so that to produce a sound of any given pitch, for instance for C, the bore need only be half the length, i.e. 4 ft. long. Overblowing, on the sordoni, moreover, produced as first

harmonic In physics, acoustics, and telecommunications, a harmonic is a sinusoidal wave with a frequency that is a positive integer multiple of the ''fundamental frequency'' of a periodic signal. The fundamental frequency is also called the ''1st har ...

(the only one required for reed-blown instruments in order to produce the

diatonic Diatonic and chromatic are terms in music theory that are used to characterize scales. The terms are also applied to musical instruments, intervals, chords, notes, musical styles, and kinds of harmony. They are very often used as a pair ...

scale for the second octave) not the

octave In music, an octave (: eighth) or perfect octave (sometimes called the diapason) is an interval between two notes, one having twice the frequency of vibration of the other. The octave relationship is a natural phenomenon that has been referr ...

, but the twelfth, or number 3 of the series. This accounts for the fact that instruments of the fagotto and dolcian type require but six or seven holes to give the diatonic scale throughout the compass, whereas the sordoni require 11 or 12 holes. Praetorius states that those figured by him have 12 open holes, and that some specimens have in addition two keys; a hole is also bored through the bottom of the instrument to allow the moisture condensed from the breath to be shaken out. The 12 holes are stopped by means of fingers and thumbs and by the ball of the hand or the fleshy underpart of the joints of the fingers. Two sourdines belonging to the Museum of the Brussels Conservatoire, said to be

facsimile A facsimile (from Latin ''fac simile'', "to make alike") is a copy or reproduction of an old book, manuscript, map, art print, or other item of historical value that is as true to the original source as possible. It differs from other forms of r ...

s of some instruments belonging to the emperor Maximilian I's band, are reproduced in Captain U. R. Day's ''Descriptive Catalogue of Musical Instruments'' (London, 1891). They differ slightly in construction from the Italian instruments described by Praetorius. The straight crook is set in the side of the instrument, almost at right angles, the top of the cylinder is surmounted by a cap, and there are but 6 open holes, the rest being covered by brass keys in wooden boxes. The pitch of these instruments lies within a semi-tone of that of the contra-bass and bass of Praetorius.

Notes

References

;Attribution *{{EB1911, first=Kathleen , last=Schlesinger , wstitle=Sordino, volume=25, pages=431–432 Aerophones Double-reed instruments

Etymology

Ancient instruments

See also

Notes

References