Mute (music): Difference between revisions

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I rewrote the article, because the original had very few sources and no reliable sources, as well as some strange cruft and no mute recordings. More information to come on talk page
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[[File:Posaune_mit_Straight_Mute_KSG_0058_PK.jpg|thumb|upright=1.25|Trombonist playing with a straight mute, the most common brass mute]]
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A '''mute''' is a device attached to a [[musical instrument]] which changes the instrument's [[timbre]], lowering its volume, or both. Although they are rarely used on [[woodwind]]s, mutes are commonly used on [[brass instrument]]s, especially the [[trumpet]] and [[trombone]], and occasionally used on string instruments and [[saxophone]]s. Muting can also be done by hand, as in the case of [[palm muting]] a [[guitar]] or dampening a [[Triangle (music)|triangle]].
[[File:Silent piano.JPG|thumb|Yamaha U1 piano mute]]


Mutes on brass instruments are typically circularly symmetric and inserted into the bell of the instrument. They can also be held or clipped onto the end of the bell. On string instruments of the [[violin]] family, mutes are attached to the bridge of the instrument. They either directly dampen the strings' vibrations or shift the bridge's resonances, which changes the spectrum of the instrument's sound. Palm muting a guitar involves placing the side of the hand across the strings, which similarly dampens the vibrations; some guitars and bass guitars have built-in mutes that can be switched on and off.
A '''mute''' is a device fitted to a [[musical instrument]] to alter the sound produced: by affecting the [[timbre]] (or "tone"), reducing the volume, or most commonly both. The use of a mute is usually indicated in [[musical notation]] by the Italian direction ''con sordino'' ("with mute") and removed with the direction ''senza sordino'' ("without mute") or ''via sordino'' ("mute off"). The spelling ''sordino'' is standard in musical notation, but in Italian, the proper spelling is ''sordina'' (a feminine noun).{{Citation needed|date=May 2019}}


Mutes are not very effective on woodwinds because their sound is not solely emitted from the end of the instrument. Furthermore, blocking the open end of the instrument prevents the lowest note of the instrument from being played.{{sfn|Sevsay|p=125}}
On [[string instrument]]s 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", darker and more somber sound. On the [[cello]] and [[double bass]], a wolf mute is often attached to the G-string (on the cello) and on the A-string (on the bass) between the bridge and the tailpiece to eliminate the [[wolf tone]]. On the [[guitar]], players may [[palm mute]] their guitars. Some instruments, such as the [[Fender Jaguar]] and the [[Rickenbacker 4001]] and 4003 electric [[bass guitar]]s have built-in string mutes.
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== Notation ==


Notation directing players to mute and unmute their instruments varies. In [[classical music]], the phrase ''con sordino'' or ''con sordini'' ({{lang-it|with mute}}), abbreviated ''con sord.'', directs players to use a straight mute on brass instruments,{{sfn|Sevsay|p=125}} and mount the mute on string instruments.{{sfn|Baines|p=217}} The type of mute can otherwise be specified above the music. Ample time must be given to allow players to add and remove the mute, though some mutes can be engaged and disengaged quickly.{{sfn|Sevsay|p=47}} For hand muting that changes over time, ''o'' is used above the music for open (unmuted) and ''+'' for closed (muted). For dampening, which is muting that occurs after a note has been struck or played, the étouffé symbol (resembling a [[Coda (music)#In music notation|coda symbol]]) or a diamond-shaped notehead is used.<ref>{{cite web |last1=Canton |first1=Sabien |last2=Overlach |first2=Miriam |title=Muffling |url=http://composingforharp.com/wp-content/uploads/2014/09/muffling.pdf |website=Composing for Harp |accessdate=14 September 2020}}</ref>{{sfn|Sevsay|p=185}}
A variety of mutes have been used on [[brass instrument]]s, most of which either squeeze inside the bell of the instrument, or are hung or clipped to the outside of the bell. The most common type is the straight mute, a hollow, cone-shaped mute that fits into the bell of the instrument. The second most common brass mute is the cup mute. There are a range of other mutes for brass, such as the solotone mute, the buzz-wah mute, the [[Wah-wah (music)|Wah-wah]] mute, bucket mutes, and hats or [[plunger]]s. Muting [[woodwind instrument]]s is very uncommon. [[Saxophone]] mutes which are usually made of a soft material, which is placed in the bell to soften the tone. [[Percussion instruments]] often require no specialist mutes. The [[triangle (musical instrument)|triangle]] and cymbals can be muted by simply gripping the instruments with one hand, stopping it from vibrating so much. [[Drum]]s may require muting if they "ring" too much with cloth, [[gaffer tape]] or special rubber or foam rubber rings.


== Brass ==
The [[soft pedal]] of the [[piano]] can be seen as having the effect of a mute. It used to be common for pianos to be fitted with another kind of mute&nbsp;— a piece of felt or similar material which would sit between the hammers and the strings. This results in a very muffled and much quieter sound. It was not used in any serious context, but was useful for reducing the volume of the instrument when practicing and was often termed a "Practice Pedal". Few pianos, apart from some uprights, have this device today.
[[File:Diagram of six common trumpet mutes.svg|thumb|upright=2|Cross-sectional diagram of six common trumpet mutes]]


Mutes are widely used on brass instruments to alter their timbre.{{sfn|Rossing|p=238}} They are most often directly inserted into the instrument's bell, but can also be clipped or held onto the end of the bell. Mutes of various types are available for all brass instruments, including the [[tuba]].{{sfn|Sevsay|p=125}} In general, inserted mutes reduce the lower frequencies of the sound because they nearly close the bell, but accentuate higher frequencies due to resonances within the mute.{{sfn|Yoshikawa|p=144}} [[Trumpet]]ers have the widest selection of mutes, but straight, cup and other mutes are available for trombones.{{sfn|Sevsay|p=125}}<ref>{{cite web |last1=Hugill |first1=Andrew |title=Trombone Mutes |url=http://andrewhugill.com/OrchestraManual/trombone_mutes.html |website=The Orchestra: A User's Manual |accessdate=13 September 2020}}</ref>
==Strings==
[[File:Mute on cello.jpg|thumb|A modern mute on the bridge of a cello]]
[[File:Wolf tone eliminator.jpg|thumb|A cello with a regular mute (the circular black piece) in off position, and a wolf mute (the cylindrical metal piece)]]
[[File:Two mutes.jpg|thumb|left|''Ad hoc'' clothespin mute and a rubber practice mute|145x145px]]
On [[string instrument]]s 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", darker and more somber sound. Usually this takes the form of a small three-prong implement made of wood or a rubber device which is attached to the top of the bridge. With wooden mutes, one prong is slid between each pair of strings. A rubber mute slides onto the end of the bridge for use and then is slid off when it is not needed.


Brass mutes are used frequently in Western classical and [[jazz]] music. An ancient form of trumpet mute was probably used before the violin mute was invented, and mutes were used in [[French horn]]s at least by 1750.<ref>{{cite book |last1=Morley-Pegge |first1=R. |title=The French Horn |date=1960 |publisher=Ernest Been Limited |location=London |page=139}}</ref> In the 19th century, new mutes were invented to create new, unique timbres for composers.{{sfn|Yoshikawa|p=144}} In his book ''The Complete Arranger'', jazz [[big band]] composer [[Sammy Nestico]] wrote that mutes can "inject a much needed color change into an arrangement".<ref name="nestico">{{cite book |last1=Nestico |first1=Sammy |title=The Complete Arranger |date=1993 |publisher=Fenwood Music |page=103}}</ref>
A famous use of string mutes is in the introduction of [[Prokofiev]]'s ''[[Romeo and Juliet (Prokofiev)|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. Anything which reduces the bridge vibrations will suffice as a [[DIY]] way to mute for amateur or beginning musicians, such as spring-loaded [[clothes peg]]s, for example, have been used. 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===
=== Straight ===
[[File:Straight mute trumpet demo.ogg|thumb|Straight mute on B{{flat}} trumpet]]
Heavy practice mutes or "hotel mutes" are available for string instruments. Some are made out of heavy rubber. Some models for violin and viola are made of metal. These also fix onto the bridge of the instrument and greatly reduce its loudness, enabling string players to practice at night in a bedroom or hotel room, without disturbing others. Recently, practice mutes have been used in contemporary music for a special color, appearing in works by [[John Corigliano]] and [[Gérard Grisey]].{{Citation needed|date=December 2019}}
The straight mute is roughly a truncated cone closed at the end facing outwards from the instrument, with three cork pads at the neck to allow for an air space about {{convert|3|mm|in}} thick between the bell and the mute,{{sfn|Rossing|p=238}} allowing sound to escape. The mute acts as a [[high-pass filter]].{{sfn|Rossing|p=239}} In trumpets, it lets through frequencies above about 1800 Hz, producing a shrill, piercing sound that can be penetrating at high volumes.{{sfn|Rossing|p=239}}{{sfn|Sevsay|p=125}} It comes in both metal and fiberglass varieties; fiberglass straight mutes are generally darker and less forceful in sound than their metal counterparts. The straight mute is the only mute that can be played at a true ''[[forte]]'' dynamic.{{sfn|Sevsay|p=125}}


The most commonly used brass mute, straight mutes for trumpet (and sometimes [[trombone]]) are used often in classical music and jazz music. It is the only type of tuba mute commonly available.{{sfn|Sevsay|p=125|ps=: "There is only one kind of tuba mute."}} In classical music, when the mute type is not specified, it is assumed that the player should use a straight mute.{{sfn|Sevsay|p=125|ps=: "The most usual mute. If no other mute is specified... trumpeters use this kind of mute when they see the instruction 'con sordino.{{'"}}}}<ref name="koehler" /> Jazz big band composer Sammy Nestico wrote that straight mutes can "shade and soften vocal backgrounds", but opined that they were "a bit harsh".<ref name="nestico"/>
===Wolf===
On the [[cello]] and [[double bass]], a wolf mute is often attached to the G-string (on the cello) and on the A-string (on the bass) 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 [[interval (music)|sixth]] or seventh above the open G-string.


=== Cup ===
[[File:Viowiess Prizma Viol Mute.jpg|left|thumb|210x210px|Innovative Viowiess Co. 3D-printed single string mute]]
[[File:Cup mute trumpet demo.ogg|thumb|Cup mute on B{{flat}} trumpet]]
The cup mute is similar to a straight mute, but includes an extra inverted cone on the end opening towards the bell of the instrument.{{sfn|Rossing|p=239}} Usually used in jazz, it has a more subdued and darker tone than the straight mute.{{sfn|Sevsay|p=126}} Backus (1976) found that the cup mute in trumpets acts as a [[band-pass filter]], permitting frequencies between 800 and 1200 Hz.{{sfn|Rossing|p=239}} The distance between the cup and the end of the bell is adjustable in some cup mutes. A ''half-closed'' mute permits more air to escape and thus more volume, while a ''fully-closed'' mute produces a quiet tone and is therefore mostly used soloistically.{{sfn|Sevsay|p=126}} The cup mute was first patented in 1899.<ref name="koehler" />


=== Violin ===
=== Harmon ===
[[File:Harmon no stem trumpet demo.ogg|thumb|"Stem out"]]
The violin mute was first described by [[Marin Mersenne]] in 1636.{{Citation needed|date=July 2020|reason=More likely that Mersenne was the first to describe it in print}} One of the earliest examples in the use of muted string instruments is found in Act II of [[Jean-Baptiste Lully]]'s ''[[Armide (Lully)|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 music|romantic]] composers sought new timbres from the [[orchestra]]. By the 20th century, the use of mutes was common for bowed instruments.{{Citation needed|date=July 2020}} Violin and other orchestral string instrument mutes became necessary at a time when string instruments were common instruments played by many individuals. To combat the heavy sound, directors would have players use mutes in order to keep many musicians without having an overwhelming volume.
[[File:Harmon with stem in trumpet demo.ogg|thumb|"Stem in"]]
[[File:Harmon with stem half in trumpet demo.ogg|thumb|"Half-stem"]]
[[File:Harmon with hand trumpet demo.ogg|thumb|"Wa-wa" effect, stem in]]


The harmon mute, also known as the wa-wa mute or wah-wah mute, is used almost exclusively in jazz.{{sfn|Sevsay|p=126}}<ref name="milesandtrane">{{cite news |last1=Considine |first1=J. D. |title=When Miles and Trane made history |url=https://www.theglobeandmail.com/arts/when-miles-and-trane-made-history/article18164154/ |accessdate=13 September 2020 |date=May 27, 2006 |location=Toronto, Canada}}</ref> Unlike the cup and straight mutes, it has a cork that completely blocks airflow around the mute. Instead, air must go into the harmon mute's chamber and escape out a hole, which protrudes into the mute. The mute can also be used with a stem, a tube inserted into the mute that further changes the path of the airflow.{{sfn|Rossing|p=239}}{{sfn|Sevsay|p=126}}


Depending on the stem's presence and position, the mute has a variety of sounds. In trumpets, the mute without a stem ("stem out") acts as a band-pass filter permitting frequencies between 1500 and 2000 Hz,{{sfn|Rossing|239}} making a subdued, distant sound.{{sfn|Sevsay|p=126}}<ref name="nestico" /> Inserting the stem fully ("stem in") produces a unique, penetrating sound, while pulling the stem halfway out ("half-stem") produces a sound with characteristics of both "stem in" and "stem out" positions. Players can also move their hand in front of the mute to produce a "wa-wa" effect by alternately closing and opening the bell.{{sfn|Sevsay|p=126}}


The harmon mute was patented in 1925 by George Schluesselburg.<ref>{{cite patent |country=US |number=1546258A |status=patent |title=Mute for wind instruments |pubdate=1925-07-14
===Electric guitars and basses===
|gdate=1925-07-14 |fdate=1924-03-24 |pridate=1924-03-24 |inventor=George Schluesselburg |assign1=P. T. Harmon |url=https://patents.google.com/patent/US1546258A/en}}</ref> The name derives from Patrick T. "Paddy" Harmon (died July 22, 1930),<ref>{{cite news |title='Paddy' Harmon Dies as Auto Turns Over |url=https://timesmachine.nytimes.com/timesmachine/1930/07/23/issue.html |accessdate=13 September 2020 |publisher=New York Times |date=July 23, 1930 |page=23 |quote=CHICAGO, July 22.—Patrick (Paddy) Harmon, promoter and first president of the Chicago Stadium... died today}}</ref> who financed Schluesselburg and was assigned half of the interest of Schluesselburg's patent.<ref name="koehler" /> Harmon's interest in the mute came from his hiring black jazz bands—whose trumpeters sometimes used a predecessor of the mute—to play at his Arcadia and Dreamland ballrooms in [[Chicago]].<ref name="koehler">{{cite book |last1=Koehler |first1=Elisa |title=Dictionary for the modern trumpet player |date=March 1, 2015 |publisher=Scarecrow Press |location=Lanham, Maryland |isbn=9780810886575 }}</ref> The harmon mute was originally always played with stem inserted. In 1946, jazz trumpeter [[Miles Davis]] pioneered the usage of the mute with stem removed,<ref>{{cite web |last1=Cwik |first1=Greg |last2=Marchese |first2=David |title=Understanding Miles Davis, in 9 Parts |url=https://www.vulture.com/2015/09/miles-davis-lives-9-parts.html |website=Vulture |accessdate=13 September 2020 |language=en-us}}</ref><ref name="milesandtrane"/> which became part of his trademark sound.<ref>{{cite web |last1=Luce |first1=Jim |title=NPR's Jazz Profiles: Miles Davis: Miles' Styles |url=https://legacy.npr.org/programs/jazzprofiles/archive/miles_styles.html |website=NPR |accessdate=13 September 2020}}</ref> Some trumpeters believe that denting the mute improves sound and [[intonation]]. An acoustical study at the University of Puget Sound, however, found that large dents led to a "weaker" tone and a degradation in tone quality, while small dents could improve tone and amplify the sound.<ref>{{cite web |last1=Armstrong |first1=Zachary T. |title=The Acoustics of Harmon Mutes |url=https://soundideas.pugetsound.edu/cgi/viewcontent.cgi?article=1474&context=summer_research |website=Sound Ideas: University of Puget Sound |accessdate=13 September 2020}}</ref>
{{Unreferenced section|date=July 2020}}
====Palm====
On the [[guitar]], a player may [[palm mute]] the guitar. To palm mute, the player uses the side of the hand, or the edge of the palm, closest to the bridge to cover the strings. This shortens the sustain significantly causing a muting effect. This is a very common technique by [[electric guitar]] and [[bass guitar]] players in [[heavy metal music]] and [[hard rock]]. In metal, when palm-muting is used with a heavily [[distortion (music)|distorted]] [[guitar amplifier]], it is used to create a characteristic "crunch" sound with [[power chord]]s and low-register [[riff]]s.{{Citation needed|date=December 2019}}


{{Clear}}
====Built-in====
=== Stopping ===
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 muting technique while allowing the picking hand to be more mobile. Various [[Gretsch|Gretches]] like the [[Gretsch 6120|6120]], the 6070 and the Country Gentleman have also been equipped with similar dampeners near their bridges, but Gretsch's design prevents them from being removed like the device on the Jaguar. The popular [[Rickenbacker 4001]] and 4003 model electric [[bass guitars|bass guitar]], along with earlier model Music Man basses, also have adjustable string mutes integrated into their bridge/tailpiece assemblies, which can be used to give the instrument a more percussive sound or to simulate the shorter sustain of an upright bass. Other electric basses have mutes built into their bridge covers. Built-in mutes may be made from foam, which reduces the length that notes can vibrate.
{{Main|Hand-stopping}}
French horn players can use standard mutes, but often use their hand to mute the sound, a technique known as ''stopping''. By inserting their hand fully into the instrument, airflow is limited, leading to a quiet and nasal sound. The shortening of the air column raises the pitch by approximately one [[semitone]], so the player must adjust by playing a semitone lower.{{sfn|Sevsay|125}}<ref>{{cite web |last1=Ericson |first1=John |title=Understanding Stopped and Muted Horn and Right-Hand Position |url=http://www.public.asu.edu/~jqerics/ess_play.htm |website=Arizona State University |accessdate=14 September 2020}}</ref> The technique was developed and popularized by [[Anton Joseph Hampel]] in the middle of the 18th century.<ref>{{cite web |last1=Meinweiser |first1=Joseph Alexander |title=The History of the Horn and how it Applies to the Modern Hornist |url=https://trace.tennessee.edu/cgi/viewcontent.cgi?article=2941&context=utk_chanhonoproj |website=Tennessee Research and Creative Exchange |accessdate=14 September 2020}}</ref>


=== Other ===
==Brass==<!-- This section is linked from [[Trombone]] -->
==== Solotone ====
<!-- If someone has a solotone, please record! I don't -Ovinus Real -->
The solotune mute consists of two telescoping cones and a small tube in the center, all made of cardboard.<ref name="koehler" /> It is structurally similar to a harmon mute, but has a cardboard tube in the middle. It has a more intense sound than the harmon mute and has a characteristic "megaphone-like" quality.{{sfn|Sevsay|126}} Other names for the mute include the Clear Tone mute, ''doppio sordino'', double mute and Mega mute.<ref name="koehler" />


==== Pixie ====
[[File:TrumpetMutes.jpg|thumb|Trumpet with paper straight mute inserted; below are (left to right) straight, wah-wah (Harmon), and cup mutes]]
[[File:Demonstration of pixie mute on Bb trumpet.ogg|thumb|Pixie mute on B{{flat}} trumpet]]
The pixie mute is a shortened straight mute and is most commonly used along with a plunger for special effects. The name is trademarked by the Humes & Berg Company, but also refers to similar mutes from other makers.<ref name="koehler" />
{{Clear}}
==== Bucket ====
[[File:Bucket mute trumpet demo.ogg|thumb|Bucket mute on B{{flat}} trumpet]]
Resembling a bucket attached to the outside of the bell, this mute is filled with absorbent material<ref name="koehler" /> which dampens the sound, resulting in a "covered" sound similar to that of a [[French horn]].{{sfn|Sevsay|126}} The mute can be clipped to the rim of the bell, but a model manufactured by Jo-Ral Mutes is instead inserted into the bell; the latter model is depicted above. Originating with early jazz trumpeters who held empty [[lard]] cans in front of their instruments, the first bucket mute was made by William McArthur in 1922.<ref name="koehler" />


==== Plunger ====
A variety of mutes have been used on [[brass instrument]]s, most of which either squeeze inside the bell of the instrument, or are hung or clipped to the outside of the bell. These mutes are typically made out of [[aluminum]], [[brass]], or [[copper]] metal, but more economical [[plaster]], cardboard, and [[plastic]] versions exist. Each material produces a distinctive sound. Mutes can take advantage of this by using materials like cane, leather, and steel.
[[File:Plunger mute trumpet demo.ogg|thumb|Plunger on B{{flat}} trumpet]]
The [[plunger]] is held in front of the bell. It can be held stationary, which produces a dull tone, but can also be moved, producing various sound effects.{{sfn|Sevsay|126}} Trumpeters and trombonists typically use a sink plunger and toilet plunger respectively, but metal plunger mutes are also produced commercially. In written music, the symbols ''o'' and ''+'' are used to indicate that the plunger should be opened and closed.<ref name="koehler" />


==== Derby (hat) ====
Some mutes will make the instrument play sharp. High quality mutes try to reduce intonation issues while maintaining the characteristic sound. Even so, it is often necessary for musicians to accommodate by adjusting the tuning slide, or their own embouchure. Alternatively, mutes can be "tuned" by adjusting the thickness of the corks. Thin corks allow the mute to be placed further into the bell, causing notes to play sharper; thick corks will keep the mute from going as far into the bell, giving a flatter tuning. Sharp tuning may be corrected by replacing worn corks with thicker ones; if a mute gives the horn a tendency to play too flat, the tuning may be sharpened by sanding down the corks to allow the mute to be seated further into the bell.
<!-- I don't have this mute, so if someone has it, please record! :D -Ovinus Real -->
The derby or hat, like the plunger, is a [[bowler hat]] held in front of the bell. Alternatively, it can be attached to a player's music stand and the trumpet pointed into it.<ref name="koehler"/> Its larger depth means that it does not distort the trumpet's sound, but does reduce its volume.{{sfn|Sevsay|126}} A similar effect can also be achieved with a felt mute, which is a piece of felt or thick cloth that covers the bell.<ref name="koehler" />


==== Whispa and practice mutes ====
===Straight===
The softest mute used in music, the whispa or whisper mute traps sound in a chamber filled with absorbent material, and only a small amount is allowed to escape through small holes in the chamber. The mute is difficult to play, especially in the upper register.{{sfn|Sevsay|126}} Practice mutes, which also severely limit the airflow, can be used during practice to prevent bothering others;<ref>{{cite web |title=Buying Guide : Practice Mutes |url=https://mouthpieceonline.com/buying-guide-practice-mutes/ |website=Mouthpiece Online |date=November 3, 2018}}</ref> Whispa mutes can also be used as practice mutes.<ref>{{cite web |last1=Goff |first1=Bryan |title=Trumpet Tips |url=http://www.bgoff.org/TrumpetTips/tip13.htm |website=www.bgoff.org |accessdate=14 September 2020}}</ref>
{{Unreferenced section|date=July 2020}}
[[File:SM6525 Copper Bottom Straight.jpg|thumb|Trumpet Straight Mute (Copper Bottom)]]
The most common type is the straight mute, a hollow, cone-shaped mute that fits into the bell of the instrument. This results in a more metallic, sometimes nasal sound, and when played at loud volumes can result in a very piercing note. Straight mutes have small pieces of [[cork (material)|cork]] attached to the end that squeeze against the inside of the bell and hold the mute in place. Straight mutes are available for all brass instruments, including the [[tuba]].


===Cup===
== Strings ==
[[File:Mute_on_cello.jpg|thumb|upright=0.75|A rubber mute on the bridge of a cello]]
{{Section citations needed|date=September 2020}}[[File:Soulo Adjustable Cup Mute.jpg|thumb|Adjustable Trumpet Cup Mute]]
[[File:Wolf_tone_eliminator.jpg|thumb|upright=0.75|A cello with a regular mute (the circular black piece) in off position, and a wolf mute (the cylindrical metal piece)]]
The second most common brass mute is the cup mute. Cup mutes are similar to straight mutes, but have a cup portion attached to the end of the mute's cone. This allows the sound to bounce back towards the instrument bell before making its way through the gap between the cup and bell, producing a more muffled darker tone. Traditionally, cup mutes are made from fiber materials and have a very distinctive sound. Cup mutes can be made from metal, plastic or fiber materials. Some metal cup mutes have an adjustable cup portion which can be moved towards or away from the brass instrument bell to further color the tone. Newer cup mutes now offer an adjustable cup portion although made from a fiber composite material, allowing the user to adjust the cup while preserving the traditional cup mute sound.
A string instrument of the [[violin]] family can be muted with a three-pronged{{sfn|Baines|p=216}} device made of wood, plastic, [[ivory]] or metal mounted on the bridge of the instrument. Muting string instruments in this way results in a darker, less brilliant sound.{{sfn|Sevsay|p=47}}{{sfn|Rossing|p=206}} This type of mute was introduced in the 17th century.{{sfn|Baines|p=217}} Typical violin mutes weigh about 1.5&nbsp;grams.{{sfn|Rossing|p=206}}


Mutes on string instruments work by dampening high-frequency vibrations in the bridge and shifting the bridge's resonances to lower frequencies.{{sfn|Rossing|p=206}}{{sfn|Baines|p=216}} Overall, the intensity of the sound is reduced, but the [[fundamental frequency|fundamental]] is generally not weakened. On the violin, the effects differ between strings: all of the G string's [[overtone]]s are weakened; the first seven overtones of the D string are weakened while the rest are sometimes strengthened; the first four and next ten overtones of the A string are weakened and strengthened, respectively; and the first three overtones of the E string are weakened.<ref>{{cite journal |last1=Seashore |first1=Carl E. |title=The Psychology of Music |journal=Music Educators Journal |date=December 1938 |volume=25 |issue=3 |page=23 |doi=10.2307/3385515 |url=https://www.jstor.org/stable/3385515 |accessdate=13 September 2020}}</ref>
===Solotone===
{Unreferenced section|date=July 2020}}
The solotone mute (labeled by Humes and Berg as the "cleartone" mute), also called a mega-mute, is shaped like a long straight mute, and includes sound baffles inside the mute that accentuate treble frequencies. It is rarely written for today but is sometimes needed in musicals and was common in jazz ensemble music written between 1930 and 1950. The most trademark use of the solo-tone mute was in [[Tommy Dorsey]]'s trombone solo in "[[Sadko (opera)#Dorsey|Song of India]]", recorded January 1, 1937.


String instruments can also be muted with the left hand by pressing gently against the string, or laying the hand across several strings. The muting can also be done after the string has been played, so that the sound remains normal until the hand presses the string(s); this technique is known as ''dampening''.{{sfn|Sevsay|p=47}} Other techniques include placing the mute between the bridge and tailpiece, bowing a mute attached directly to the strings between the bridge and fingerboard, and pinching a string while bowing it. This last technique is known as the Langlois effect.{{sfn|Sevsay|p=47}}<ref>{{cite web |title=Double bass - Langlois effect |url=https://www.vsl.co.at/en/Playing_Techniques-left_hand/Double_bass-Langlois |website=Vienna Symphonic Library |accessdate=13 September 2020}}</ref>
===Buzz-wah===
The buzz-wah mute creates a very unusual and recognizable pinched sound, but is quite difficult to play. In the early 1920s, [[Joe "King" Oliver]] was known to hold a kazoo in the bell of his cornet to achieve the buzz effect. Commercial versions of this type of mute soon followed. The earliest version of this was the "Humes Jazzer" patented by Guy B. Humes in the mid-1920s.<ref>{{cite web |author=Kid Dutch |url=http://www.VintageMutes.com |title=Dutch Uithoven |publisher=Vintagemutes.com |accessdate=2012-09-18 |url-status=live |archiveurl=https://web.archive.org/web/20120818035445/http://www.vintagemutes.com/ |archivedate=2012-08-18 }}</ref>


Practice mutes can be used to heavily dampen stringed instruments to make practicing them in hotels or apartments easier. Both metal and rubber practice mutes are manufactured.<ref>{{cite web |title=Six Types of Violin Mutes for the Aspiring Violinist |url=https://consordini.com/six-types-of-violin-mutes-for-the-aspiring-violinist/ |website=Consordini |accessdate=13 September 2020 |date=17 June 2015}}</ref> A limitation to consistently practicing with practice mutes is their marked change of tone.<ref>{{cite web |last1=Cahill |first1=Greg |title=How to Soundproof a Room: Practice Without Bothering House Mates & Neighbors |url=https://stringsmagazine.com/how-to-soundproof-a-room-practice-without-bothering-house-mates-neighbors/ |website=Strings Magazine |accessdate=13 September 2020 |date=April 13, 2018 |quote=Sure, you could use a mute, but that will alter the tone—at least occasionally you want to hear yourself playing at full throttle in order to master performance-level technique.}}</ref>
[[File:Trumpet WahWahMute.jpg|thumb|left|Wah-wah (Harmon) mute for trumpet]]


===Bucket===
=== Wolf eliminator ===
The [[wolf tone]] is an undesirable resonance that occurs in string instruments, particularly the [[cello]].<ref>{{cite journal |last1=Firth |first1=I. M. |title=The wolf tone in the cello: Acoustic and holographic studies |journal=Speech Transmission Laboratory |date=1974 |volume=15 |issue=4 |page=42 |url=http://www.speech.kth.se/prod/publications/files/qpsr/1974/1974_15_4_042-056.pdf |accessdate=13 September 2020 |quote=In many instruments of this family... there is one particular tone elicited by the bow which sounds quite different from the rest, but the wolf tone is most well known... in the cello.}}</ref> A common way to suppress the tone is to attach a rubber mute, known as a wolf tone eliminator, to the problematic strings between the bridge and tailpiece of the instrument. A cylindrical metal piece can also be used.<ref>{{cite web |last1=Freiberg |first1=Sarah |title=How to Tame Annoying Howling Wolf Tones |url=http://stringsmagazine.com/how-to-tame-annoying-howling-wolf-tones/ |website=Strings Magazine |accessdate=13 September 2020 |date=May 12, 2005}}</ref>
{{Unreferenced section|date=July 2020}}
Bucket mutes attach to the rim of the bell with springs and contain cotton, foam or a similar substance. The effect is removal of high frequencies and a soft, muffled tone. Some modern bucket mutes (by JoRal for example) are designed as oversized straight mutes filled with batting, with large holes in along the side. These are held in the bell of the instrument with strips of cork, like straight and cup mutes. Players often find a trade-off between spring-style mutes, which can prevent quick transitions and cone-shaped mutes that squeeze into the bell, which can cause back-pressure. Modernized flexible spring-style clips on bucket mutes make transitioning fast and also eliminate back-pressure.


===Derby (hat)===
== Fretted ==
{{Further|Palm muting}}
{{Unreferenced section|date=July 2020}}
A common technique in [[rock music|rock]], [[heavy metal music|metal]], [[funk music|funk]], and [[disco music|disco]] music, palm muting a [[guitar]] or [[bass guitar]] involves placing the side of the hand on the strings near the bridge.<ref name="mr">{{cite web |title=How to improve your palm-muting |url=https://www.musicradar.com/how-to/how-to-improve-your-palm-muting-on-guitar |website=MusicRadar |accessdate=13 September 2020 |language=en |date=December 2018}}</ref><ref>{{cite journal |last1=Freed |first1=Adrian David |last2=Biral |first2=Julien |last3=d'Alessandro |first3=Nicolas |title=Towards a Dynamic Model of the Palm Mute Guitar Technique Based on Capturing Pressure Profiles Between the Guitar Strings |journal=International Computer Music Association |date=November 2014 |url=https://www.researchgate.net/publication/298982249_Towards_a_Dynamic_Model_of_the_Palm_Mute_Guitar_Technique_Based_on_Capturing_Pressure_Profiles_Between_the_Guitar_Strings |accessdate=13 September 2020}}</ref> In classical music, this technique is sometimes known as ''pizzicato effleuré''.{{sfn|Sevsay|p=225}} It reduces the strings' resonance and makes a "dry, chunky sound".<ref name="mr"/> Guitars and bass guitars can also have built-in or makeshift dampening devices to simulate the effect of palm muting. The Fender Jaguar guitar, for example, has a spring-loaded strip of foam that, when enabled, presses against the strings.<ref name="premier">{{cite web |last1=Hoepfinger |first1=Heiko |title=Bass Bench: A Staccato Blast from the Past |url=https://www.premierguitar.com/articles/24067-bass-bench-a-staccato-blast-from-the-past |website=Premier Guitar |accessdate=14 September 2020 |language=en |date=May 13, 2016}}</ref><ref>{{cite web |last1=Price |first1=Huw |title=Vintage Bench Test: 1966 Fender Jaguar |url=https://guitar.com/review/vintage-bench-test-1966-fender-jaguar/ |website=Guitar.com |accessdate=14 September 2020 |date=7 December 2016}}</ref> Some guitars have an individual piece of foam for each string.<ref name="premier" />
Derby mutes or hat mutes (also known as Bowler Hats, and also confusingly and incorrectly called Wah-wah mutes) were common in [[jazz]] from the 1920s when [[Joe "King" Oliver|King Oliver]] played and others wrote for them. These mutes were originally actual [[bowler hat]]s. In the 1920s, with the advent of aluminum as an art metal, derby mutes were stamped out of metal by companies such as Meta-Lite, Elton, and later Harmon. These replaced the use of the actual bowler derbies. From the 1950s to the present derby mutes were made of [[fibre]] (a resin impregnated cardboard). They are still available from the Humes & Berg Company.


== Percussion ==
Derby mutes are typically mounted on stands in front of the trumpet and trombone players, to permit quick movement of the bell in and out of the hat quickly, although they can be opened and closed over the bell of the instrument by hand. These mutes have fallen somewhat out of favor in recent years, as bucket mutes or playing into the music stand can give a somewhat similar, although unvarying sound.
[[File:LatinTriangle.ogg|thumb|A triangle played latin style, opening and closing the hand for rhythmic effect]]
[[Snare drum]]s can be muted with a piece of cloth laid on top, or placed between the snares and the lower membrane.{{sfn|Sevsay|p=172}} Undesirable ringing overtones can be suppressed by placing a variety of objects on the head, including wallets, self-adhesive pieces of gel, and a circular piece of plastic sitting on top of the head.<ref>{{cite web |last1=Cesarz |first1=Nick |title=9 Best Drum Dampeners to Stop Snare Drum Ring |url=https://drummingreview.com/best-drum-dampeners/#Best_Drum_Dampeners_at_a_Glance |website=Drumming Review |accessdate=13 September 2020 |date=20 January 2020}}</ref> Struck [[idiophone]]s (e.g. [[xylophone]]s) can be muted with the hand or a device, which results in short tones lacking resonance.{{sfn|Sevsay|p=214}} [[Cowbell]]s can be muted by placing a cloth inside them.{{sfn|Sevsay|p=158}} Shaken idiophones, such as [[maraca]]s, can be muted by holding their chamber instead of their handle.{{sfn|Sevsay|p=164}}


Some percussion instruments, such as the [[triangle (music)|triangle]], [[timpani]], and [[suspended cymbal]], are intended to be muted or dampened by hand. A triangle can also be dampened by placing it inside a sack and striking it from outside.{{sfn|Sevsay|p=154}} Muting a timpani can be done with a handkerchief, cloth, or piece of felt; the muting device can also be struck directly.{{sfn|Sevsay|p=170}}
===Stop (stopping)===
{{See also|List of horn techniques#Stopped horn}}


=== Piano ===
Stop or Stopping mutes are unique to the [[French horn]].{{Citation needed|date=July 2020|reason=Is this technique really not used on other brass instruments? Wo says so?}} The term ''hand-stopping'' involves the hornist inserting his/her hand into the bell of the instrument. A buzzing sound results, and the tone is raised a [[semitone]] from the shortening of the effective length of the vibrating air column. At lower intervals, application of this technique is very demanding. At the [[pedal tone|pedal]] level, it is nearly impossible (as in the final movement of [[Pyotr Ilyich Tchaikovsky|Tchaikovsky]]'s [[Symphony No. 6 (Tchaikovsky)|Symphony No. 6]]). To remedy this, a small mute made of brass, with a small branch and tiny brass bell, is substituted for the hand. It still takes an enormous amount of air to achieve the "stopped" sound, but is certainly possible for an experienced player. Stopping, whether accomplished by hand or with a mute, raises the pitch to such an extent that horn players have traditionally [[transposition (music)|transposed]] the muted notes, fingering a half-step lower than written, but a line of self-transposing stop mutes have recently been developed in Japan.{{Citation needed|date=July 2020|reason=When, and by whom?}}
[[File:Posaune mit wah wah mute KSG 0038 PK.jpg|thumb|A trombonist using a plunger mute]]
[[File:No pedal, soft pedal, practice pedal on piano.ogg|thumb|No pedal, soft pedal and practice pedal on an upright]]
The [[soft pedal]], or una corda pedal, decreases the volume of a [[piano]]. In grand pianos, this is done by shifting the hammers to the right, so that the hammer misses one of the multiple strings used for each note; in uprights, the soft pedal moves the hammers closer to the strings, making a softer impact.{{sfn|Baines|p=257}}{{sfn|Sevsay|p=231}}


The middle piano on most pianos is a [[sostenuto pedal]], which does not perform a muting function. On some pianos, however, the middle pedal is a ''practice pedal'', which lowers a piece of felt between the hammers and strings, muffling the sound.{{sfn|Rossing|p=313}} The main pedal still has an effect, as the felt is not pressed against the strings except when the hammer strikes.{{sfn|Baines|p=258}} Even quieter than the soft pedal, the practice pedal is intended to be used to prevent bothering others during practice.<ref>{{cite web |last1=Lane |first1=Michael |title=Piano Pedals » What do they do and how to use them |url=https://www.flowkey.com/en/piano-guide/piano-pedals |website=Flowkey |accessdate=14 September 2020 |language=en |date=7 August 2019}}</ref>
===Plunger===
{{Unreferenced section|date=July 2020}}
Plunger mutes are simply rubber sink or toilet [[plunger]]s with the wooden handle removed (but can be purchased from certain mute companies). Some musicians cut holes in the rubber to help with intonation, otherwise the pitch changes when going from closed to open. Plungers are often used in a manner similar to the hat mute, where the musician manipulates the plunger in front of the bell while playing with the other hand. A "closed" plunger gives a tone similar to a tightly inserted cup mute, and a skilled plunger technician can often produce sounds similar to the [[human voice]].


==See also==
In [[Duke Ellington]]'s orchestra, [[trombonist]] [[Tricky Sam Nanton]] was noted for his work with the "plumber's friend". The [[Glenn Miller]] band made a wooden red and white plunger popularly called the "Tuxedo Plunger" (used in the band's hit tune "[[Tuxedo Junction]]"). For a combination of straight mute sound with the readily manipulated plunger, Pixie mutes are used. More recently, some players use a plunger made from a dog toy called the "Jolly Ball Tug-n'-Toss" cut in half.
* [[Damping (music)]]


===Pixie mute===
== References ==
This mute is similar to a straight mute, but is generally used with a plunger mute to get a "dirtier" sound. It was a favorite of Sam Nanton of the Duke Ellington Orchestra.{{Citation needed|date=July 2020}}


{{reflist}}
===Practice (whispa, whisper, or hotel)===
[[File:Practice mute crop.jpg|thumb|left|A practice mute made from a household air freshener and self-adhesive weatherstripping]]


== Further reading ==
Practice mutes, also known as Whispa, whisper, or hotel mutes, are similar to straight mutes in appearance, but have a solid ring of cork that prevents air from escaping from the bell like a Harmon mute. There are sound baffles inside the mute, and tiny holes in the sides of the mute that allow air to escape silently. These mutes are extremely quiet and are rarely used in performance. They are usually used for privacy and to avoid disturbing bystanders during practice sessions.

The trumpet playing community has embraced a method for making an inexpensive practice mute out of a conical plastic "Renuzit" brand gel air freshener container filled with tissue or fabric.<ref>{{cite web |url=http://www.dallasmusic.org/gearhead/Renuzit%20Practice%20Mute.html |title=Renuzit Mute |publisher=Dallasmusic.org |accessdate=2012-09-18 |url-status=live |archiveurl=https://web.archive.org/web/20120816125318/http://www.dallasmusic.org/gearhead/Renuzit%20Practice%20Mute.html |archivedate=2012-08-16 }}</ref> The mute is held in the bell with [[weatherstripping]]. The self-assembly allows players to custom-fit the mute to the bells of their trumpets, or alter the sound quality and muffling effect.

[[Yamaha Corporation|Yamaha]] produces an electronic practice mute system known as Silent Brass, with models for [[tuba]], [[euphonium]], [[French horn|horn]], [[trombone]]/[[bass trombone]], [[alto trombone]]/[[flugelhorn]], [[trumpet]]/[[cornet]], and [[piccolo trumpet]].<ref>{{cite web |url=http://usa.yamaha.com/products/musical-instruments/winds/silentbrass/pickupmute/ |title=Pickup Mutes – SILENT BRASS™ – Brass/Woodwinds – Musical Instruments – Products – Yamaha United States |publisher=Usa.yamaha.com |accessdate=2012-09-18 |url-status=live |archiveurl=https://web.archive.org/web/20120417211659/http://usa.yamaha.com/products/musical-instruments/winds/silentbrass/pickupmute/ |archivedate=2012-04-17 }}</ref> It consists of a practice mute with a built-in microphone and 1/8th inch jack, which connects to a pocket amplifier with volume control and headphone output.<ref>{{cite web |url=http://usa.yamaha.com/products/musical-instruments/winds/silentbrass/personalstudios/st9/?mode=model |title=ST9 – Personal Studio – SILENT BRASS™ – Brass/Woodwinds – Musical Instruments – Products – Yamaha United States |publisher=Usa.yamaha.com |accessdate=2012-09-18 |url-status=live |archiveurl=https://web.archive.org/web/20121003005844/http://usa.yamaha.com/products/musical-instruments/winds/silentbrass/personalstudios/st9/?mode=model |archivedate=2012-10-03 }}</ref> It is sometimes used in combination with [[effects pedals]] or other devices to completely change the sound of the instrument.<ref>{{cite web |url=http://quiltytherockband.tumblr.com/post/3167025046/jaredoco-killquilty-at-xpo-929 |title=QUILTY |publisher=Quiltytherockband.tumblr.com |date=2011-02-07 |accessdate=2012-09-18 |url-status=dead |archiveurl=https://web.archive.org/web/20120320215629/http://quiltytherockband.tumblr.com/post/3167025046/jaredoco-killquilty-at-xpo-929 |archivedate=2012-03-20 }}</ref><ref>{{cite web |url=https://www.youtube.com/watch?v=jM8EuwMJ3yU |title=Bolero Ravel |publisher=YouTube |date=2007-07-11 |accessdate=2012-09-18 |url-status=live |archiveurl=https://web.archive.org/web/20130227045542/http://www.youtube.com/watch?v=jM8EuwMJ3yU |archivedate=2013-02-27 }}</ref>

==Woodwind==
Sound from woodwinds emanates mainly from the holes in the instrument's body. Muting [[woodwind instrument]]s is very uncommon, and in the case of the [[flute]] is almost unknown. In the 18th century purpose-built mutes existed for the [[oboe]] and [[clarinet]], but in the rare cases when one of these instruments is muted today a handkerchief is usually stuffed up the bell resulting in a muffled sound. Some [[bassoon]]ists still use purpose-built mutes, generally as a way of regulating volume at extremes of the instrument's register.

There exist [[saxophone]] mutes which are usually made of a soft material (such as [[velvet]], [[silk]] or [[Chenille fabric|chenille]]) woven around a hard inner ring (usually brass or plastic). This mute is placed in the bell, most commonly perpendicularly to the body of the saxophone. This softens the tones of the saxophone somewhat, and can be useful in classical settings as it also dampens the sound a bit. They are not in common use, but they are not rare either. They are usually only made for the alto saxophone, although bigger and smaller ones can be made and used for higher and lower registers of saxophone. Some companies currently produce mutes that cover the entirety of the instrument (such as the E-Sax Whisper mute and the Silent Sax case), thus dramatically diminishing the volume of sound produced. To date{{When|date=July 2020}} their overall effectiveness is still in question.

==Percussion==
{{Unreferenced section|date=July 2020}}
[[Percussion instruments]] often require no specialist mutes. The [[triangle (musical instrument)|triangle]], for example, is muted by simply gripping the instrument with the hand, stopping it from vibrating so much. Cymbalists, similarly, will grip the cymbals with their hands, or simply strike crash cymbals together to stop excessive vibration.

[[Drum]]s may require muting if they "ring" too much. They can be muted by laying a small piece of cloth (or in a pinch, a credit card, adhesive bandages, or even [[sanitary napkin]]s and duct or [[gaffer tape]] for larger drums) over their skin resulting in a muffled sound, but there are also specialized adhesive cloth mutes that stick to the head of the drum. [[Timpani]] players will run their fingers across the surface of the drum-head to control unwanted resonance.

For the snare drum, tenor drums, or the entire drum (trap) set, drum and cymbal mute pads (such as SoundOff by Evans, Deadhead Pads by DW Drum Workshop, and Vic Firth Drum Set Mutes, and many others) are available for playing quietly while practicing. These usually consist of a piece of rubber or foam rubber that is laid on top of each drum head and cymbal. Computer mouse pads (whole or pieces) may also be placed on drum heads and cymbals to achieve a similar effect.

Many struck [[idiophone]]s, such as the [[claves]], can be muted by varying the way the instruments are held or struck in order to reduce their resonance. Shaken idiophones, such as [[maracas]], can often be muted by holding or squeezing the ball section in the palm of the hand instead of holding them by the handle, which can alter the tone as well as the volume for added versatility during recording sessions.

Traditionally, a military band playing for a [[funeral]] would cover the drums with cloth, producing a muffled tone suitable to the solemn occasion.

==Piano==
{{Unreferenced section|date=July 2020}}
The [[soft pedal]] of the [[piano]] can be seen as having the effect of a mute. In a grand piano, depressing the soft pedal shifts the [[Action (piano)|action]] slightly to one side, making the hammers hit only two of the three strings for each note (or one of the two at lower registers). This results in a quieter and "thinner" sound. In some upright pianos, the soft pedal instead moves the hammers slightly closer to the strings, shortening the blow distance and weakening the strike. The effect is then markedly smaller than in the grand piano, and is a matter of volume but not timbre.

Indication that the soft pedal should be used is the instruction ''una corda'' or sometimes ''due corde'', with ''tre corde'' or sometimes ''tutte le corde'' cancelling it. On early pianos it was possible by use of the soft pedal to play only one, two, or all three strings, making the distinction between ''una corda'' (''one string'') and ''due corde'' (''two strings'') meaningful; but this is no longer the case.

It used to be common for pianos to be fitted with another kind of mute&nbsp;— a piece of felt or similar material which would sit between the hammers and the strings. This results in a very muffled and much quieter sound. It was not used in any serious context, but was useful for reducing the volume of the instrument when practicing and was often termed a "Practice Pedal". Few pianos, apart from some uprights, have this device today.

To confuse matters, the instruction ''senza sordino'' (or some variant) is sometimes used to indicate continuous application of the [[sustain pedal]] on a piano, throughout a long section or an entire movement (as opposed to the standard use of [[File:Pedal Mark 1.svg|30px]], or alternatively a brace mark, written below the [[musical staff|staff]], for short applications of the pedal). The ''sordino'' of this notation refers to the felt [[Sustain pedal|dampers]], each of which stops the sound of a note's strings when the note is not being played. When all the dampers are lifted by the sustain pedal (''senza sordino''), all the strings of the piano are allowed to sound, resulting in a complex sound when all strings are free to sound sympathetically with other strings. (See [[Moonlight Sonata]] for a classic example of ''senza sordino''.)

A piano tuner will use another kind of mute with a piano; a rubber or felt wedge, which is inserted between strings to make sure only the desired string in a "unison" (that is, in the strings for one note) is sounding. A felt strip can also be inserted and "braided" between strings, to mute several strings at once.

Finally, a very simple and basic way to somewhat muffle the sound of a piano when practicing is to cover it with a blanket.

==See also==
* [[Damping (music)]]


* {{cite book |last1=Rossing |first1=Thomas D. |last2=Moore |first2=F. Richard |last3=Wheeler |first3=Paul A. |title=The Science of Sound |date=2002 |publisher=Addison Wesley |isbn=0805385657 |pages=238–239 |edition=Third}}
==References==
* {{cite journal |last1=Yoshikawa |first1=Shigeru |last2=Nobara |first2=Yu |title=Acoustical Modeling of Mutes for Brass Instruments |journal=Studies in Musical Acoustics and Psychoacoustics |date=2017 |volume=4 |pages=143–186 |doi=10.1007/978-3-319-47292-8_5}}
{{Reflist}}
* {{cite book |last1=Sevsay |first1=Ertuğrul |title=The Cambridge guide to orchestration |date=April 2013 |publisher=Cambridge University Press |location=New York |isbn=9781107025165}}
* {{cite book |last1=Baines |first1=Anthony |title=The Oxford companion to musical instruments |date=1992 |publisher=Oxford University Press |location=Oxford |isbn=0193113341}}


==External links==
{{Commons category|Mutes}}
* [http://www.VintageMutes.com/ Vintage Mutes]: VintageMutes.com – Mute Information, History, & Virtual Museum of historical Wind Mutes
* [https://web.archive.org/web/20160611130338/http://www.harmonmutecompany.com/ Harmon Mutes]: Harmon Mute Information, Product Line, and History
{{Brass instruments}}
{{Brass instruments}}
{{DEFAULTSORT:Mute (Music)}}
{{DEFAULTSORT:Mute (Music)}}

Revision as of 08:03, 14 September 2020

For the playing technique for the guitar, see Palm mute.
"Sordino" redirects here. For other uses, see Sordino (disambiguation).
"Sourdine" and "Sordina" redirect here. For the string instrument, see Kit violin.
Trombonist playing with a straight mute, the most common brass mute

A mute is a device attached to a musical instrument which changes the instrument's timbre, lowering its volume, or both. Although they are rarely used on woodwinds, mutes are commonly used on brass instruments, especially the trumpet and trombone, and occasionally used on string instruments and saxophones. Muting can also be done by hand, as in the case of palm muting a guitar or dampening a triangle.

Mutes on brass instruments are typically circularly symmetric and inserted into the bell of the instrument. They can also be held or clipped onto the end of the bell. On string instruments of the violin family, mutes are attached to the bridge of the instrument. They either directly dampen the strings' vibrations or shift the bridge's resonances, which changes the spectrum of the instrument's sound. Palm muting a guitar involves placing the side of the hand across the strings, which similarly dampens the vibrations; some guitars and bass guitars have built-in mutes that can be switched on and off.

Mutes are not very effective on woodwinds because their sound is not solely emitted from the end of the instrument. Furthermore, blocking the open end of the instrument prevents the lowest note of the instrument from being played.[1]

Notation

Notation directing players to mute and unmute their instruments varies. In classical music, the phrase con sordino or con sordini (Italian: with mute), abbreviated con sord., directs players to use a straight mute on brass instruments,[1] and mount the mute on string instruments.[2] The type of mute can otherwise be specified above the music. Ample time must be given to allow players to add and remove the mute, though some mutes can be engaged and disengaged quickly.[3] For hand muting that changes over time, o is used above the music for open (unmuted) and + for closed (muted). For dampening, which is muting that occurs after a note has been struck or played, the étouffé symbol (resembling a coda symbol) or a diamond-shaped notehead is used.[4][5]

Brass

Cross-sectional diagram of six common trumpet mutes

Mutes are widely used on brass instruments to alter their timbre.[6] They are most often directly inserted into the instrument's bell, but can also be clipped or held onto the end of the bell. Mutes of various types are available for all brass instruments, including the tuba.[1] In general, inserted mutes reduce the lower frequencies of the sound because they nearly close the bell, but accentuate higher frequencies due to resonances within the mute.[7] Trumpeters have the widest selection of mutes, but straight, cup and other mutes are available for trombones.[1][8]

Brass mutes are used frequently in Western classical and jazz music. An ancient form of trumpet mute was probably used before the violin mute was invented, and mutes were used in French horns at least by 1750.[9] In the 19th century, new mutes were invented to create new, unique timbres for composers.[7] In his book The Complete Arranger, jazz big band composer Sammy Nestico wrote that mutes can "inject a much needed color change into an arrangement".[10]

Straight

Straight mute on B♭ trumpet

The straight mute is roughly a truncated cone closed at the end facing outwards from the instrument, with three cork pads at the neck to allow for an air space about 3 millimetres (0.12 in) thick between the bell and the mute,[6] allowing sound to escape. The mute acts as a high-pass filter.[11] In trumpets, it lets through frequencies above about 1800 Hz, producing a shrill, piercing sound that can be penetrating at high volumes.[11][1] It comes in both metal and fiberglass varieties; fiberglass straight mutes are generally darker and less forceful in sound than their metal counterparts. The straight mute is the only mute that can be played at a true forte dynamic.[1]

The most commonly used brass mute, straight mutes for trumpet (and sometimes trombone) are used often in classical music and jazz music. It is the only type of tuba mute commonly available.[1] In classical music, when the mute type is not specified, it is assumed that the player should use a straight mute.[1][12] Jazz big band composer Sammy Nestico wrote that straight mutes can "shade and soften vocal backgrounds", but opined that they were "a bit harsh".[10]

Cup

Cup mute on B♭ trumpet

The cup mute is similar to a straight mute, but includes an extra inverted cone on the end opening towards the bell of the instrument.[11] Usually used in jazz, it has a more subdued and darker tone than the straight mute.[13] Backus (1976) found that the cup mute in trumpets acts as a band-pass filter, permitting frequencies between 800 and 1200 Hz.[11] The distance between the cup and the end of the bell is adjustable in some cup mutes. A half-closed mute permits more air to escape and thus more volume, while a fully-closed mute produces a quiet tone and is therefore mostly used soloistically.[13] The cup mute was first patented in 1899.[12]

Harmon

"Stem out"
"Stem in"
"Half-stem"
"Wa-wa" effect, stem in

The harmon mute, also known as the wa-wa mute or wah-wah mute, is used almost exclusively in jazz.[13][14] Unlike the cup and straight mutes, it has a cork that completely blocks airflow around the mute. Instead, air must go into the harmon mute's chamber and escape out a hole, which protrudes into the mute. The mute can also be used with a stem, a tube inserted into the mute that further changes the path of the airflow.[11][13]

Depending on the stem's presence and position, the mute has a variety of sounds. In trumpets, the mute without a stem ("stem out") acts as a band-pass filter permitting frequencies between 1500 and 2000 Hz,[11] making a subdued, distant sound.[13][10] Inserting the stem fully ("stem in") produces a unique, penetrating sound, while pulling the stem halfway out ("half-stem") produces a sound with characteristics of both "stem in" and "stem out" positions. Players can also move their hand in front of the mute to produce a "wa-wa" effect by alternately closing and opening the bell.[13]

The harmon mute was patented in 1925 by George Schluesselburg.[15] The name derives from Patrick T. "Paddy" Harmon (died July 22, 1930),[16] who financed Schluesselburg and was assigned half of the interest of Schluesselburg's patent.[12] Harmon's interest in the mute came from his hiring black jazz bands—whose trumpeters sometimes used a predecessor of the mute—to play at his Arcadia and Dreamland ballrooms in Chicago.[12] The harmon mute was originally always played with stem inserted. In 1946, jazz trumpeter Miles Davis pioneered the usage of the mute with stem removed,[17][14] which became part of his trademark sound.[18] Some trumpeters believe that denting the mute improves sound and intonation. An acoustical study at the University of Puget Sound, however, found that large dents led to a "weaker" tone and a degradation in tone quality, while small dents could improve tone and amplify the sound.[19]

Stopping

Main article: Hand-stopping

French horn players can use standard mutes, but often use their hand to mute the sound, a technique known as stopping. By inserting their hand fully into the instrument, airflow is limited, leading to a quiet and nasal sound. The shortening of the air column raises the pitch by approximately one semitone, so the player must adjust by playing a semitone lower.[1][20] The technique was developed and popularized by Anton Joseph Hampel in the middle of the 18th century.[21]

Other

Solotone

The solotune mute consists of two telescoping cones and a small tube in the center, all made of cardboard.[12] It is structurally similar to a harmon mute, but has a cardboard tube in the middle. It has a more intense sound than the harmon mute and has a characteristic "megaphone-like" quality.[13] Other names for the mute include the Clear Tone mute, doppio sordino, double mute and Mega mute.[12]

Pixie

Pixie mute on B♭ trumpet

The pixie mute is a shortened straight mute and is most commonly used along with a plunger for special effects. The name is trademarked by the Humes & Berg Company, but also refers to similar mutes from other makers.[12]

Bucket

Bucket mute on B♭ trumpet

Resembling a bucket attached to the outside of the bell, this mute is filled with absorbent material[12] which dampens the sound, resulting in a "covered" sound similar to that of a French horn.[13] The mute can be clipped to the rim of the bell, but a model manufactured by Jo-Ral Mutes is instead inserted into the bell; the latter model is depicted above. Originating with early jazz trumpeters who held empty lard cans in front of their instruments, the first bucket mute was made by William McArthur in 1922.[12]

Plunger

Plunger on B♭ trumpet

The plunger is held in front of the bell. It can be held stationary, which produces a dull tone, but can also be moved, producing various sound effects.[13] Trumpeters and trombonists typically use a sink plunger and toilet plunger respectively, but metal plunger mutes are also produced commercially. In written music, the symbols o and + are used to indicate that the plunger should be opened and closed.[12]

Derby (hat)

The derby or hat, like the plunger, is a bowler hat held in front of the bell. Alternatively, it can be attached to a player's music stand and the trumpet pointed into it.[12] Its larger depth means that it does not distort the trumpet's sound, but does reduce its volume.[13] A similar effect can also be achieved with a felt mute, which is a piece of felt or thick cloth that covers the bell.[12]

Whispa and practice mutes

The softest mute used in music, the whispa or whisper mute traps sound in a chamber filled with absorbent material, and only a small amount is allowed to escape through small holes in the chamber. The mute is difficult to play, especially in the upper register.[13] Practice mutes, which also severely limit the airflow, can be used during practice to prevent bothering others;[22] Whispa mutes can also be used as practice mutes.[23]

Strings

A rubber mute on the bridge of a cello
A cello with a regular mute (the circular black piece) in off position, and a wolf mute (the cylindrical metal piece)

A string instrument of the violin family can be muted with a three-pronged[24] device made of wood, plastic, ivory or metal mounted on the bridge of the instrument. Muting string instruments in this way results in a darker, less brilliant sound.[3][25] This type of mute was introduced in the 17th century.[2] Typical violin mutes weigh about 1.5 grams.[25]

Mutes on string instruments work by dampening high-frequency vibrations in the bridge and shifting the bridge's resonances to lower frequencies.[25][24] Overall, the intensity of the sound is reduced, but the fundamental is generally not weakened. On the violin, the effects differ between strings: all of the G string's overtones are weakened; the first seven overtones of the D string are weakened while the rest are sometimes strengthened; the first four and next ten overtones of the A string are weakened and strengthened, respectively; and the first three overtones of the E string are weakened.[26]

String instruments can also be muted with the left hand by pressing gently against the string, or laying the hand across several strings. The muting can also be done after the string has been played, so that the sound remains normal until the hand presses the string(s); this technique is known as dampening.[3] Other techniques include placing the mute between the bridge and tailpiece, bowing a mute attached directly to the strings between the bridge and fingerboard, and pinching a string while bowing it. This last technique is known as the Langlois effect.[3][27]

Practice mutes can be used to heavily dampen stringed instruments to make practicing them in hotels or apartments easier. Both metal and rubber practice mutes are manufactured.[28] A limitation to consistently practicing with practice mutes is their marked change of tone.[29]

Wolf eliminator

The wolf tone is an undesirable resonance that occurs in string instruments, particularly the cello.[30] A common way to suppress the tone is to attach a rubber mute, known as a wolf tone eliminator, to the problematic strings between the bridge and tailpiece of the instrument. A cylindrical metal piece can also be used.[31]

Fretted

Further information: Palm muting

A common technique in rock, metal, funk, and disco music, palm muting a guitar or bass guitar involves placing the side of the hand on the strings near the bridge.[32][33] In classical music, this technique is sometimes known as pizzicato effleuré.[34] It reduces the strings' resonance and makes a "dry, chunky sound".[32] Guitars and bass guitars can also have built-in or makeshift dampening devices to simulate the effect of palm muting. The Fender Jaguar guitar, for example, has a spring-loaded strip of foam that, when enabled, presses against the strings.[35][36] Some guitars have an individual piece of foam for each string.[35]

Percussion

A triangle played latin style, opening and closing the hand for rhythmic effect

Snare drums can be muted with a piece of cloth laid on top, or placed between the snares and the lower membrane.[37] Undesirable ringing overtones can be suppressed by placing a variety of objects on the head, including wallets, self-adhesive pieces of gel, and a circular piece of plastic sitting on top of the head.[38] Struck idiophones (e.g. xylophones) can be muted with the hand or a device, which results in short tones lacking resonance.[39] Cowbells can be muted by placing a cloth inside them.[40] Shaken idiophones, such as maracas, can be muted by holding their chamber instead of their handle.[41]

Some percussion instruments, such as the triangle, timpani, and suspended cymbal, are intended to be muted or dampened by hand. A triangle can also be dampened by placing it inside a sack and striking it from outside.[42] Muting a timpani can be done with a handkerchief, cloth, or piece of felt; the muting device can also be struck directly.[43]

Piano

No pedal, soft pedal and practice pedal on an upright

The soft pedal, or una corda pedal, decreases the volume of a piano. In grand pianos, this is done by shifting the hammers to the right, so that the hammer misses one of the multiple strings used for each note; in uprights, the soft pedal moves the hammers closer to the strings, making a softer impact.[44][45]

The middle piano on most pianos is a sostenuto pedal, which does not perform a muting function. On some pianos, however, the middle pedal is a practice pedal, which lowers a piece of felt between the hammers and strings, muffling the sound.[46] The main pedal still has an effect, as the felt is not pressed against the strings except when the hammer strikes.[47] Even quieter than the soft pedal, the practice pedal is intended to be used to prevent bothering others during practice.[48]

See also

References

  1. ^ a b c d e f g h i Sevsay, p. 125. Cite error: The named reference "FOOTNOTESevsay125" was defined multiple times with different content (see the help page).
  2. ^ a b Baines, p. 217.
  3. ^ a b c d Sevsay, p. 47.
  4. ^ Canton, Sabien; Overlach, Miriam. "Muffling" (PDF). Composing for Harp. Retrieved 14 September 2020.
  5. ^ Sevsay, p. 185.
  6. ^ a b Rossing, p. 238.
  7. ^ a b Yoshikawa, p. 144.
  8. ^ Hugill, Andrew. "Trombone Mutes". The Orchestra: A User's Manual. Retrieved 13 September 2020.
  9. ^ Morley-Pegge, R. (1960). The French Horn. London: Ernest Been Limited. p. 139.
  10. ^ a b c Nestico, Sammy (1993). The Complete Arranger. Fenwood Music. p. 103.
  11. ^ a b c d e f Rossing, p. 239. Cite error: The named reference "FOOTNOTERossing239" was defined multiple times with different content (see the help page).
  12. ^ a b c d e f g h i j k l Koehler, Elisa (March 1, 2015). Dictionary for the modern trumpet player. Lanham, Maryland: Scarecrow Press. ISBN 9780810886575.
  13. ^ a b c d e f g h i j k Sevsay, p. 126. Cite error: The named reference "FOOTNOTESevsay126" was defined multiple times with different content (see the help page).
  14. ^ a b Considine, J. D. (May 27, 2006). "When Miles and Trane made history". Toronto, Canada. Retrieved 13 September 2020.
  15. ^ US patent 1546258A, George Schluesselburg, "Mute for wind instruments", published 1925-07-14, issued 1925-07-14, assigned to P. T. Harmon 
  16. ^ "'Paddy' Harmon Dies as Auto Turns Over". New York Times. July 23, 1930. p. 23. Retrieved 13 September 2020. CHICAGO, July 22.—Patrick (Paddy) Harmon, promoter and first president of the Chicago Stadium... died today
  17. ^ Cwik, Greg; Marchese, David. "Understanding Miles Davis, in 9 Parts". Vulture. Retrieved 13 September 2020.
  18. ^ Luce, Jim. "NPR's Jazz Profiles: Miles Davis: Miles' Styles". NPR. Retrieved 13 September 2020.
  19. ^ Armstrong, Zachary T. "The Acoustics of Harmon Mutes". Sound Ideas: University of Puget Sound. Retrieved 13 September 2020.
  20. ^ Ericson, John. "Understanding Stopped and Muted Horn and Right-Hand Position". Arizona State University. Retrieved 14 September 2020.
  21. ^ Meinweiser, Joseph Alexander. "The History of the Horn and how it Applies to the Modern Hornist". Tennessee Research and Creative Exchange. Retrieved 14 September 2020.
  22. ^ "Buying Guide : Practice Mutes". Mouthpiece Online. November 3, 2018.
  23. ^ Goff, Bryan. "Trumpet Tips". www.bgoff.org. Retrieved 14 September 2020.
  24. ^ a b Baines, p. 216.
  25. ^ a b c Rossing, p. 206.
  26. ^ Seashore, Carl E. (December 1938). "The Psychology of Music". Music Educators Journal. 25 (3): 23. doi:10.2307/3385515. Retrieved 13 September 2020.
  27. ^ "Double bass - Langlois effect". Vienna Symphonic Library. Retrieved 13 September 2020.
  28. ^ "Six Types of Violin Mutes for the Aspiring Violinist". Consordini. 17 June 2015. Retrieved 13 September 2020.
  29. ^ Cahill, Greg (April 13, 2018). "How to Soundproof a Room: Practice Without Bothering House Mates & Neighbors". Strings Magazine. Retrieved 13 September 2020. Sure, you could use a mute, but that will alter the tone—at least occasionally you want to hear yourself playing at full throttle in order to master performance-level technique.
  30. ^ Firth, I. M. (1974). "The wolf tone in the cello: Acoustic and holographic studies" (PDF). Speech Transmission Laboratory. 15 (4): 42. Retrieved 13 September 2020. In many instruments of this family... there is one particular tone elicited by the bow which sounds quite different from the rest, but the wolf tone is most well known... in the cello.
  31. ^ Freiberg, Sarah (May 12, 2005). "How to Tame Annoying Howling Wolf Tones". Strings Magazine. Retrieved 13 September 2020.
  32. ^ a b "How to improve your palm-muting". MusicRadar. December 2018. Retrieved 13 September 2020.
  33. ^ Freed, Adrian David; Biral, Julien; d'Alessandro, Nicolas (November 2014). "Towards a Dynamic Model of the Palm Mute Guitar Technique Based on Capturing Pressure Profiles Between the Guitar Strings". International Computer Music Association. Retrieved 13 September 2020.
  34. ^ Sevsay, p. 225.
  35. ^ a b Hoepfinger, Heiko (May 13, 2016). "Bass Bench: A Staccato Blast from the Past". Premier Guitar. Retrieved 14 September 2020.
  36. ^ Price, Huw (7 December 2016). "Vintage Bench Test: 1966 Fender Jaguar". Guitar.com. Retrieved 14 September 2020.
  37. ^ Sevsay, p. 172.
  38. ^ Cesarz, Nick (20 January 2020). "9 Best Drum Dampeners to Stop Snare Drum Ring". Drumming Review. Retrieved 13 September 2020.
  39. ^ Sevsay, p. 214.
  40. ^ Sevsay, p. 158.
  41. ^ Sevsay, p. 164.
  42. ^ Sevsay, p. 154.
  43. ^ Sevsay, p. 170.
  44. ^ Baines, p. 257.
  45. ^ Sevsay, p. 231.
  46. ^ Rossing, p. 313.
  47. ^ Baines, p. 258.
  48. ^ Lane, Michael (7 August 2019). "Piano Pedals » What do they do and how to use them". Flowkey. Retrieved 14 September 2020.

Further reading

  • Rossing, Thomas D.; Moore, F. Richard; Wheeler, Paul A. (2002). The Science of Sound (Third ed.). Addison Wesley. pp. 238–239. ISBN 0805385657.
  • Yoshikawa, Shigeru; Nobara, Yu (2017). "Acoustical Modeling of Mutes for Brass Instruments". Studies in Musical Acoustics and Psychoacoustics. 4: 143–186. doi:10.1007/978-3-319-47292-8_5.
  • Sevsay, Ertuğrul (April 2013). The Cambridge guide to orchestration. New York: Cambridge University Press. ISBN 9781107025165.
  • Baines, Anthony (1992). The Oxford companion to musical instruments. Oxford: Oxford University Press. ISBN 0193113341.
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