Aitchison Mnatzaganian cello makers, restorers and dealers

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Set-up - an introduction
Guide to cello measurements
Review of A and D strings
Review of G and C strings
Survey of string design
Bridge design
Taming wolf notes
Tailpieces and tailcords
The challenge of trying cellos
Left hand comfort for cellists
Right hand comfort for cellists
What is a full-sized cello?
G.B. Guadagnini's cellos
Study of 1729 Guarneri cello
Bow testing techniques
The appeal of bows
Players test bows

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Cellos by Robin Aitchison
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Take a Bow 2008
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Bridge Design

The bridge and sound post are at the heart of a cello’s set up, forming the fundamental link between the resonant body of the cello and the strings. The design of a bridge therefore has a profound influence an instrument’s tone and response.

The design of the bridge should complement the inherent tonal characteristics of a cello, bringing the projected and ‘under the ear’ sound of the cello as close as possible to the player’s ideal. The bridge contributes to the quality of support and resistance experienced under the bow and is used to achieve the desired balance between power and flexibility of response. Bridges can be cut to influence the timbre of a cello’s sound, making it more or less open, balancing the registers of the cello to create an even tonal response and adding brilliance or depth to the sound.

Modern cello bridges are based on designs known as ‘French’ and ‘Belgian’. The French bridge was widely favoured by players and luthiers in England in the second half of the 20^th century. The legs of the French bridge account for approximately half its height and within this basic design there is plenty of latitude for the luthier to choose slightly different shapes and thicknesses to control the tonal outcome. The French bridge is often a good choice for bright-sounding cellos.

The French Bridge

The Belgian bridge has longer legs than the French model and a more compact heart and upper body. The reduced mass of wood above the Belgian heart produces a sound which is brighter and more open than the French bridge - and often louder. The Belgian bridge emphasises the upper register of the cello and can also be used to make the sound of gut G and C strings more crisp and clean. Cellos with an inherently dark sound often benefit from the fitting of a Belgian bridge.

The Belgian Bridge

A good cello bridge is made from un-figured maple with an extremely fine growth and a very strong cellular structure. Scientific study into bridge design is now under way, but bridges are still – like instruments – based on traditional models and their design has changed only slightly through history as tastes and fashions for instrument sound have changed. For example, in the 1960s the French bridge was widely used in the UK and was often cut with a lot of wood above the heart, producing a dark sound with a narrow, focussed brilliance in the upper register. The current fashion is for a bright, open sound. For some cellos this can be achieved with a French bridge; for others a Belgian bridge is needed.

We believe that the a cello’s set up should be treated with the greatest respect, only making changes when it is clear that the original bridge and post are not functioning well. When an old bridge needs replacing, we follow as closely as possible the elegant, organic models passed down to us by earlier craftsmen.

Our bridges are cut from a reliable and consistent stock of wood and we produce only first class cello bridges (i.e. no ‘student’ models or violin/viola bridges) so that every piece of work contributes to our working knowledge of tonal control.

When assessing a cello we focus on the existing set up and try to understand the player’s tonal ideal. If the current bridge has clear shortcomings, we will consider our portfolio of bridge designs and decide which model will come closest to producing the player’s ideal sound. We will then adjust the design of this model to suit the individual instrument and player, cutting the bridge to influence darkness and brightness, resistance and flexibility.

As with every other vibrating part of a cello, the bridge will improve with age provided that it is looked after well. When fitting a bridge we always make a special wooden measuring gauge which fits between the end of the fingerboard and the bridge. This gauge is a useful tool for checking that the bridge is standing straight and, if used regularly, will help to maintain the cello’s sound adjustment and prevent the bridge from warping.

This article was first published in our newsletter News for Cellists of which there are three editions a year. To receive our newsletter by post (UK only) or email, please contact us.

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