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- How to hold the Cello
Most pupils are surprised I have no doubt, at the evident discrepancy seen in the plates usually published with 'cello schools, when compared with the manner in which our first class artists hold their instruments. - Basset Horn
Basset Horn: a wood-wind instrument, not a "horn," member of the clarinet family, of which it is the tenor. The basset horn consists of a nearly cylindrical tube of wood (generally cocus or box-wood), having a cylindrical bore and terminating in a metal bell wider than that of the clarinet. - Bassoon
Bassoon, a woodwind instrument with double reed mouthpiece, a member of the oboe (q.v.) family, of which it is the bass. The German and Italian names of the instrument were bestowed from a fancied resemblance to a bundle of sticks, the bassoon being the first instrument of the kind to be doubled back upon itself; its direct ancestor, the bass pommer, 6 ft. in length, was quite straight. The English and French names refer to the pitch of the instrument as the bass of the wood-wind. - Old English double curtail
The next step in the evolution produced the double curtail, a converted bass pommer an octave below the single curtail and therefore identical in pitch as in construction with the early fagotto in C. The instrument is shown the figure, the reproduction of a drawing in the MS. of The Academy of Armoury by Randle Holme,[16] written some time before 1688. - Barrel Organ
Large stationary barrel-organ worked by hydraulic power, from Solomon de Caus, Les Raisons des forces mouvantes (Frankfort-on-Main, 1615). The origin of the barrel-organ is now clearly established, and many will doubtless be surprised to find that it must be sought in the Netherlands as early as the middle of the 15th century, and that accurate and detailed diagrams of every part of the mechanism for a large stationary barrel-organ worked by hydraulic power were published in 1615 - Barbiton
Barbiton , an ancient stringed instrument known to us from the Greek and Roman classics, but derived from Persia. Although in use in Asia Minor, Italy, Sicily, and Greece, it is evident that the barbiton never won for itself a place in the affections of the Greeks of Hellas; it was regarded as a barbarian instrument affected by those only whose tastes in matters of art were unorthodox. It had fallen into disuse in the days of Aristotle, but reappeared under the Romans. - The Hand-organ performance
After the horse has learned to take hold readily of anything offered to him, which knowledge he will have acquired if he has already learned to perform the tricks heretofore mentioned, the only additional instruction necessary will be to initiate him into the mysteries of turning the handle. When he has taken hold of the handle, gently move his head so as to produce the desired motion. If, when you let go of his head, he ceases the motion, speak sharply to him and put his head again in motion. With almost any horse a few lessons, and judicious rewards when he does what is required, will accomplish the object, and he will soon both be able and willing to grind out Old Dog Tray, or Norma, if not in exact time at least with as much correctness as many performers on this instrument. - The Kimmori
Another favourite instrument is the 'kimmori.' This also derives its sounding powers from gourds, of which three are usually slung from the tube forming the body. It is said by the natives to have been invented by one of the singers of the 'Brahma Loka,' or heaven of the Brahmins. The 'kimmori' is made of a pipe of bamboo or blackwood, with frets or screws, which should be fashioned of the scales of the pangolin, or scaly ant-eater, though more often they are made of bone or metal. It has only two strings, one touching the frets, the other carried above them. The tail-piece is always carved like the breast of a kite, and the instrument is frequently found sculptured on ancient temples and shrines, especially in Mysore, in the south of Hindustan. - The Bin
The 'bin,' or 'vina,' may be regarded as the national instrument of India. The 'bin' is made of wood, and has seven strings, two of steel, the rest of silver, and these are plucked by the two first fingers of the performer, who wears little metal shields made for the purpose. It is tuned by pegs, and has two gourds suspended below, each usually measuring about fourteen inches across. These, being of irregular shape and gaily coloured, give a very picturesque look to the instrument. - Santir
Santir A kind of dulcimer. Wood inlaid with mother-of-pearl. It contains twenty-five sets of wire strings, each set consisting of four strings which are tuned in unison. - Rebab Esh-Sha'er
Rebab Esh-Sha'er The body consists of a wooden frame, over which a parchment is stretched. One string of white horse-hair. The case is in the shape of a fork, and is intended to rest on the ground. - Kobsa
Kobsa A kind of Lute, Wood, painted. Ten strings, of which nine are ctgut, and one of silk covered with thin wire. A species of kobsa with eight strings is an old popular instrument of the Russians. - Handel's Harpsichord
Handel's Harpsichord. Case of deal, black japanned; with internal ornaments of flowers painted, and inscriptions in gold. Made by Andrea Ruckers, of Antwerp, 1651 - Chitarrone
Chitarrone A therbo. Wood, inlaid with ebony, ivory, and coloured woods. Two sets of wooden tuning-pegs, the lower containing twelve, and the higher eight. The instrument had wire strings. - Cheng
Cheng Containing 17 pipes of small bamboo reeds, arranged in five sets, each having pipes of equal length. - Biva
Biva A kind of lute. The body is of wood, lacquered black, and ornamented with a band of Japanese design in gold lacquer. Four strings and two very small soundholes. - Virginal
Virginal The instruments has mtal strings, one for each tone, whiched are twanged by means of small portions of quill, attached to slips of wood called "jacks" and provided with thin metal springs. German. About 1600 - Viola di Bardone
Viola di Bardone The finger-board is carved in open fret-work terminating in three lions' heads; above the bridge are two figures of negrose, carved and gilt. German 1686 - Taki-goto
Taki-Goto Bamboo, with 13 strings of silk neatly twisted. The body ornamented with embroidered work, and painted with inscriptions, flowers and foliage ; in the center is carved an open fan. - Archlute
Archlute Wood, inlaid with ivory and tortoise-shell, engraved. Two sets of tuning pegs, the lower containing fourteen, and the higher, ten. On the middle of the neck is an ovl plate of mother-of-pearl, bering the German inscription, Gott der Herr ist Sonne und Schield ("God, the Lord, is sun and shield.") About 1700 - Ashanti Ivory Trumpet
Negro Trumpet. Ivory. From the regions of the White Nile The large ivory trumpet is used by the Niam-Niams, and other negro tribes, for transmitting signals in times of war. - Tabl Shamee
Tabl Shamee Small kettle drum The name tabl shamee, signifying 'Syrian drum', indicates that this kind of drum was probably introduced into Egypt from Western Asia. It is usually made from tinned copper, with a parchment face. The Egyptians use the Tabl shamee especially in bridal processions, and on similar festive occasions. The performer carries it suspended from his neck and beats it with two slender sticks. - Rebab
The Rebab, an Arab instrument of the violin class, is especially used for accompanying the voice. - Sword Dance
Sword-dance to the sound of the Bagpipe.--Fac-simile of a Manuscript in the British Museum (Fourteenth Century). - Oliphant
Olifant, or Hunting-horn, in Ivory (Fourteenth Century).--From an Original existing in England. - Musicians
Musicians accompanying the Dancing.--Fac-simile of a Wood Engraving in the "Orchésographie" of Thoinot Arbeau (Jehan Tabourot): 4to (Langres, 1588). - Ethiopan Serenaders
Ethiopan Serenaders The Street Vocalists are almost as large a body as the street musicians. It will be seen that there are 50 Ethiopian serenaders, and above 250 who live by ballad-singing alone. - Four-course Cittern
- Peruvian Pan Pipes
- Organ
- Early form of the regals
- A Positive Organ
- Saxon Pneumatic Organ
The organ, already introduced into divine service, became, under the hands of St. Dunstan, a large and important instrument. William of Malmesbury says that Dunstan gave many to churches which had pipes of brass and were inflated with bellows. In a MS. psalter in Trinity College, Cambridge, is a picture of one of considerable size, which has no less than four bellows played by four men. [Comment on the same picture in book Musical Instruments, by Carl Engel Published in 1875 and Available from gutenberg.org] Some progress in the construction of the organ is exhibited in an illustration dating from the twelfth century, in a psalter of Eadwine, in the library of Trinity college, Cambridge. The instrument has ten pipes, or perhaps fourteen, as four of them appear to be double pipes. It required four men exerting all their power to produce the necessary wind, and two men to play the instrument. Moreover, both players seem also to be busily engaged in directing the blowers about the proper supply of wind. Six men and only fourteen pipes! It must be admitted that since the twelfth century some progress has been made, at all events, in the construction of the organ.