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10th May 2013 at Old Cranleighan Club, Thames Ditton, Surrey (Jeana Leslie & Siobhan Miller gig).
The Bouzouki was introduced to Irish traditional music in the 1960s by Johnny Moynihan, and has since spread across a variety of Anglo-Celtic folk styles. The Irish Bouzouki usually has a wider body and a flat back. It can have 8 or 10 strings. The distinction between the Irish Bouzouki and the Cittern is very blurred. Some base this on the number of strings (the Bouzouki having 8 and the Cittern 10), others the size of the body or the length of the neck.
This instrument was made by Stefan Sobell of Northumberland. Some people would call a 10-string instrument like this a Cittern.
Irish Bouzoukis are assigned the number 321.321 in the Hornbostel-Sachs classification of musical instruments ( en.wikipedia.org/wiki/Hornbostel-Sachs ), indicating:
3 = Chordophone. Instruments where the sound is primarily produced by the vibration of a string or strings that are stretched between fixed points.
32 = Composite Chordophone. Acoustic and electro-acoustic instruments which have a resonator as an integral part of the instrument, and solid-body electric chordophones.
321 = Lutes. Instruments where the plane of the strings runs parallel with the resonator’s surface.
321.3 = Handle Lutes. Instruments in which the string bearer is a plain handle.
321.32 = Necked Lutes. Instrument in which the handle is attached to, or carved from, the resonator, like a neck
321.321 = Necked Bowl Lutes. Instrument with a resonator made from a bowl, either natural or carved.
I used to play, a long time ago, but not any more. Shame really, as it is such a pretty thing to look at.
13th September 2011 at the Borderline, London W1.
The Mandolin evolved from the Lute via the Mandore in 17th and 18th century Italy. It became popular in the United States in the mid 19th century, where folowing an instrument produced in 1905 by Orville H. Gibson it adopted a flat back rather than the bowl shaped one. The bodies of modern Mandolins can be either pear shaped or tear drop shaped (i.e. with a scroll carved into the headstock). They also vary in the shape and position of the sound holes which impacts on the sound of the instrument.
Tear drop shaped Mandolins usually have f-shaped sound holes (normally in pairs, one to each side of the bridge). The American Gibson company called this design of Mandolin the Florentine or F-style.
This is a 1924 Gibson F-5 (Serial No 75316, signed by sound engineer/luthier Lloyd Loar). It has been suggested that Chris Thile bought the instrument in 2007 and reputedly paid $200,000.
Mandolins are assigned the number 321.321 in the Hornbostel-Sachs classification of musical instruments ( en.wikipedia.org/wiki/Hornbostel-Sachs ), indicating:
3 = Chordophone. Instruments where the sound is primarily produced by the vibration of a string or strings that are stretched between fixed points.
32 = Composite Chordophone. Acoustic and electro-acoustic instruments which have a resonator as an integral part of the instrument, and solid-body electric chordophones.
321 = Lutes. Instruments where the plane of the strings runs parallel with the resonator’s surface.
321.3 = Handle Lutes. Instruments in which the string bearer is a plain handle.
321.32 = Necked Lutes. Instrument in which the handle is attached to, or carved from, the resonator, like a neck
321.321 = Necked Bowl Lutes. Instrument with a resonator made from a bowl, either natural or carved.
22nd September 2012 at St Paul’s, Covent Garden, London WC2 (Kutumba gig).
The Nepali Sarangi is a different instrument to the Indian one of the same name, lacking sympathetic strings. Traditionally played by the Gaine people, it is made from a single piece of wood with a double chambered body (the lower one covered in sheep skin), and four strings. It is played with a bow (in the past horsehair, now more likely to be nylon).
Sarangis are assigned the number 321.321-71 in the Hornbostel-Sachs classification of musical instruments ( en.wikipedia.org/wiki/Hornbostel-Sachs ), indicating:
3 = Chordophone. Instruments where the sound is primarily produced by the vibration of a string or strings that are stretched between fixed points.
32 = Composite Chordophone. Acoustic and electro-acoustic instruments which have a resonator as an integral part of the instrument, and solid-body electric chordophones.
321 = Lutes. Instruments where the plane of the strings runs parallel with the resonator’s surface.
321.3 = Handle Lutes. Instruments in which the string bearer is a plain handle.
321.32 = Necked Lutes. Instrument in which the handle is attached to, or carved from, the resonator, like a neck
321.321 = Necked Bowl Lutes. Instrument with a resonator made from a bowl, either natural or carved.
321.321-71 = Instruments where the strings vibrated using a bow.
19th May 2013 at the Green Note, London NW1 (Nuala Kennedy Band gig).
The Mandolin evolved from the Lute via the Mandore in 17th and 18th century Italy. It became popular in the United States in the mid 19th century, where folowing an instrument produced in 1905 by Orville H. Gibson it adopted a flat back rather than the bowl shaped one. The bodies of modern Mandolins can be either pear shaped or tear drop shaped (i.e. with a scroll carved into the headstock). They also vary in the shape and position of the sound holes which impacts on the sound of the instrument.
Pear shaped Mandolins usually have an oval sound hole (normally on the centre line of the body near the neck). The American Gibson company called this design of Mandolin the A style.
This is a large bodied pear shaped Mandolin with 10 strings in 5 courses built by Stefan Sobell in Northumberland.
Mandolins are assigned the number 321.321 in the Hornbostel Sachs classification of musical instruments ( en.wikipedia.org/wiki/Hornbostel-Sachs ), indicating:
3 = Chordophone. Instruments where the sound is primarily produced by the vibration of a string or strings that are stretched between fixed points.
32 = Composite Chordophone. Acoustic and electro acoustic instruments which have a resonator as an integral part of the instrument, and solid body electric chordophones.
321 = Lutes. Instruments where the plane of the strings runs parallel with the resonators surface.
321.3 = Handle Lutes. Instruments in which the string bearer is a plain handle.
321.32 = Necked Lutes. Instrument in which the handle is attached to, or carved from, the resonator, like a neck.
321.321 = Necked Bowl Lutes. Instrument with a resonator made from a bowl, either natural or carved.
25th July 2014 at Bush Hall, London W12.
The Mandola is part of the Mandolin family. The instrument tuned an octave below the Mandolin is called an [Octave] Mandola in Europe and an Octave Mandolin in North America. The latter reserve the term Mandola for an instrument tuned a fifth below a Mandolin, which the former call a Tenor Mandolin.
This instrument has a guitar shaped body and was built by Fletcher Brock of Seattle, WA.
Octave Mandolins/Mandolas are assigned the number 321.321 in the Hornbostel-Sachs classification of musical instruments ( en.wikipedia.org/wiki/Hornbostel-Sachs ), indicating:
3 = Chordophone. Instruments where the sound is primarily produced by the vibration of a string or strings that are stretched between fixed points.
32 = Composite Chordophone. Acoustic and electro-acoustic instruments which have a resonator as an integral part of the instrument, and solid-body electric chordophones.
321 = Lutes. Instruments where the plane of the strings runs parallel with the resonator’s surface.
321.3 = Handle Lutes. Instruments in which the string bearer is a plain handle.
321.32 = Necked Lutes. Instrument in which the handle is attached to, or carved from, the resonator, like a neck.
321.321 = Necked Bowl Lutes. Instrument with a resonator made from a bowl, either natural or carved.
Note: Strictly speaking the shape of this particular instrument makes it a Box Lute rather than a Bowl Lute. However I’ve decided to keep all the Mandolas/Octave Mandolins together.
17th May 2016 at Heath Street Baptist Church, London NW3 (Jon Rees & Bianca Riesner concert).
The Viola da Gamba (or Viol) is one of a family of bowed instruments popular in the Renaissance and Baroque periods. Viols differ from the Violin family in having flat rather than curved backs, sloped rather than rounded shoulders, c holes rather than f holes, and five to seven rather than four strings; the presence of frets, and by being played with an underhand rather than overhand bow grip. The family ranges from the Pardessus de Viole to the Contrabass. The Bass Viol is one of the lowest pitched and is the size of a cello with six or seven strings.
Viols are assigned the number 321.322-71 in the Hornbostel-Sachs classification of musical instruments ( en.wikipedia.org/wiki/Hornbostel-Sachs ), indicating
3 = Chordophone. Instruments where the sound is primarily produced by the vibration of a string or strings that are stretched between fixed points.
32 = Composite Chordophone. Acoustic and electro acoustic instruments which have a resonator as an integral part of the instrument, and solid body electric chordophones.
321 = Lutes. Instruments where the plane of the strings runs parallel with the resonators surface.
321.3 = Handle Lutes. Instruments in which the string bearer is a plain handle.
321.32 = Necked Lutes. Instrument in which the handle is attached to, or carved from, the resonator, like a neck
321.322 = Necked Box Lutes. Instruments in which the resonator is built up from wood.
321.322-71 = Instruments where the strings vibrated using a bow.
15th September 2013 at Kings Place (Concert Level Foyer), London N1.
Morris Pads are used to attach bells to the legs of Morris dancers. Different Morris sides have pads of a different design. They consists of 3 to 5 vertical leather straps (or more rarely a solid rectangle), which is secured around the leg with a metal buckle. 3 to 5 holes are punched in each strap for the bells.
Morris Pads are assigned the number 112.111 in the Hornbostel-Sachs classification of musical instruments ( en.wikipedia.org/wiki/Hornbostel-Sachs ), indicating:
1 = Idiophones. Sound is primarily produced by the actual body of the instrument vibrating, rather than a string, membrane, or column of air.
11 = Struck Idiophones. These idiophones are set in vibration by being struck.
112 = Indirectly Struck Idiophones. The player himself does not go through the movement of striking; percussion results indirectly through some other movement by the player.
112.1 = Shaken Idiophones. The player makes a shaking motion.
112.11 = Suspension Rattles. Perforated idiophones are mounted together, and shaken to strike against each other
112.111 = Strung Rattles. Rattling objects are strung in rows on a cord.
Engraving - close up hands
Photo © Edwin Remsberg, www.remsberg.com
Hi Res image available for license from Alamy.com
7th August 2016 at Horniman Museum, London SE23.
The Recorder was a popular instrument in Europe from the medieval to the baroque era. There was a revival in the 20th century. Made of wood (and sometimes plastic in modern times) they have a wooden block or fipple which compresses the air, and seven holes. They vary in size from the small Garklein (or Piccolo) to the very large Double Contra Bass.
The Baroque Recorder introduced in the late 17th century was a major redesign of the Renaissance instrument. It was made of three pieces rather than one or two, allowing for more accurate boring. The taper was more pronounced. The possible range was two octaves and later two octaves and a fifth, while the tone is regarded as "sweeter".
This instrument was made first quarter of the 18th century by Peter Bressan in London. It is a Treble Recorder with three sections and seven fingerholes and a thumbhole.
Recorders are assigned the number 421.221.12 in the Hornbostel-Sachs classification of musical instruments ( en.wikipedia.org/wiki/Hornbostel-Sachs ), indicating:
4 = Aerophones. Sound is primarily produced by vibrating air. The instrument itself does not vibrate, and there are no vibrating strings or membranes.
42 = Non-Free Aerophones. The vibrating air is contained within the instrument.
421 = Edge-Blown Flutes. A narrow stream of air is directed against an edge.
421.2 = Flutes with a Duct. A narrow duct directs the air-stream against the sharp edge of a lateral orifice.
421.22 = Flutes with an Internal Duct. The duct is inside the tube.
421.221. = Single Flutes with an Internal Duct.
421.221.1 = Open Flutes with an Internal Duct.
421.221.12 = With Fingerholes.
9th October 2011 at Old Rose & Crown, London E17.
The Concertina was developed in the 1830s in both England and Germany. It differs from the Accordion in having buttons in the same direction as the bellows rather than perpendicular. There are two keyboards of buttons, one at each end of the instruments bellows. Each button has an individual note.
There are several different types of Concertina. The English Concertina is octagonal and unisonoric (the same note on push and draw). The German Concertina (Chemnitzer) is rectangular and bisonoric (a different note on push and draw). There is also an Anglo-German Concertina (usually just called an Anglo) developed later in the 1860s which is closer to the English shape (usually hexagonal) and has the German note system. Other difference between the English and Anglo Concertinas are: the former have thumb straps and the latter hand straps, the rows of buttons on the former are straight and on the latter slightly curved downwards. The Duet Concertina is harder to pin down as there are a number of different systems. They are all unisonoric and have the bass notes are on the left side and the treble are on the right. The player can then play the melody on the right hand, with an accompaniment on the left, thus the name Duet.
This is a G/C Crabb Anglo Concertina.
John Crabb started making concertinas in the 1860s and the company continued through his son Harry and Harry’s sons until the 1980s.
Concertinas are assigned the number 412.132 in the Hornbostel-Sachs classification of musical instruments ( en.wikipedia.org/wiki/Hornbostel-Sachs ), indicating:
4 = Aerophones. Sound is primarily produced by vibrating air. The instrument itself does not vibrate, and there are no vibrating strings or membranes.
41 = Free Aerophones. The vibrating air is not contained within the instrument.
412 = Interruptive Free Aerophones. The air-stream is interrupted periodically.
412.1 = Idiophonic Interruptive Aerophones or Reeds. The air-stream is directed against a lamella, setting it in periodic vibration to interrupt the stream intermittently.
412.13 = Free Reed Instruments. Instrument features a reed which vibrates within a closely fitting slot.
412.132 = Sets of Free Reads.
Just a glimpse of the electric guitar selection at Roadworthy Guitar & Amp. Impressive selection of PRS guitars, which are endorsed by some bands such as Nickelback and Santana. Plus, they have student edition PRS guitars, which are more affordable for the muscian who is just starting out.
I was inspired when I saw coconuts for 99c at the bodega, but when I got home it took me half an hour just to get all the delicious meat out of the nut.
I keep making instruments that are too long for my short arms to play comfortably. You'd think I would've learned from the rotten stick guitar.
The frets are bamboo skewers - I tuned them by ear so the tuning is kind of shaky. I might add more frets later. Note how the bamboo bridge rests on a point on the membrane (architectural vellum)- this helps to transfer the vibrations of the string.
The coconut banjo sounds like this.
Description:
Black and White photo of a finished example of a Williams' Piano.
Notes:
The Williams Piano Company was started in Toronto in the year 1849, and eventually relocated to Oshawa in 1890. The company rapidly became one of the most prominent of its kind, shipping products to at least seven nations worldwide. At the height of its popularity, Williams Piano employed around 250 workers, who helped establish it as a premiere creator of pianos and other musical instruments. The factory building, which sat on Richmond Street in Oshawa, was torn down in 1970 to make room for a new headquarters for the Durham Regional Police.
Date of Original:
ca. 1900-1910s
Dimensions:
Width: 5cm
Height: 3.5cm
Subject(s):
Factories
Musical instruments
Local identifier:
LH0772
Geographic Coverage:
Canada - Ontario - Ontario - Oshawa
Copyright Statement:
Public domain: Copyright has expired according to Canadian law. No restrictions on use.
Contact:
Oshawa Public Libraries
Email: npatterson@oshawalibrary.on.ca
Search our Image Collection
Address:
65 Bagot Street Oshawa, ON L1H 1N2
7th December 2014 at Leytonstone Ex-Servicemens Club, London E11 (Starry Eyed & Laughing at “Peter O'Brien's Birthday Extravaganza”).
The Electric 12 string Guitar was popularised by Rickenbacker instruments from the early 1960s (they were not the first, both Gibson - as part of a double neck model - and Danelectro produced 12 strings a few years earlier).
The guitar in the photo is a Rickenbacker 370/12. It had a semi-hollow body and three pickups. The instrument was developed from the earlier 360/12 (first produced in 1963). Whilst the 370/12 was made available to musicans like Roger McGuinn in the mid 1960s, it was 1980 before it went into regular production.
Electric Guitars are assigned the number 321.322-5 in the Hornbostel Sachs classification of musical instruments indicating:
3 = Chordophone. Instruments where the sound is primarily produced by the vibration of a string or strings that are stretched between fixed points.
32 = Composite Chordophone. Acoustic and electro acoustic instruments which have a resonator as an integral part of the instrument, and solid body electric chordophones.
321 = Lutes. Instruments where the plane of the strings runs parallel with the resonators surface.
321.3 = Handle Lutes. Instruments in which the string bearer is a plain handle.
321.32 = Necked Lutes. Instrument in which the handle is attached to, or carved from, the resonator, like a neck
321.322 = Necked Box Lutes. Instruments in which the resonator is built up from wood.
321.322-5 = Instruments where the strings are vibrated by bare hands and fingers.
A fiddle made by my father...
Fiddle making has been in the family as my grandfather made the fiddles that both my dad and my uncle played all their lives. He made my dads the year he was born (1922) and then my uncles John`s the year he was born (1931)
My dad made the fiddle above, a copy of a Stradivarius Faciebat Anno, 16 years ago (started in 1998, finished in 1999) and not long after he finished it, he passed away. He played the fiddle several times before he became ill... he was very proud of it, it has a really rich, lovely tone to it. He left it to me and his own fiddle (the one made for him by his father) to my brother. I guess I`d better learn to play it now...
1st October 2011 at Cecil Sharp House (Kennedy Hall), London NW1 (Spiers & Boden gig).
The Concertina was developed in the 1830s in both England and Germany. It differs from the Accordion in having buttons in the same direction as the bellows rather than perpendicular. There are two keyboards of buttons, one at each end of the instruments bellows. Each button has an individual note.
There are several different types of Concertina. The English Concertina is octagonal and unisonoric (the same note on push and draw). The German Concertina (Chemnitzer) is rectangular and bisonoric (a different note on push and draw). There is also an Anglo-German Concertina (usually just called an Anglo) developed later in the 1860s which is closer to the English shape (usually hexagonal) and has the German note system. Other difference between the English and Anglo Concertinas are: the former have thumb straps and the latter hand straps, the rows of buttons on the former are straight and on the latter slightly curved downwards. The Duet Concertina is harder to pin down as there are a number of different systems. They are all unisonoric and have the bass notes are on the left side and the treble are on the right. The player can then play the melody on the right hand, with an accompaniment on the left, thus the name Duet.
This is a C/G Jeffries Anglo Concertina. It is unusual in having 55 keys compared to the 30 to 40 on most Anglos.
C. Jeffries are one of the best known makers of the instrument. Charles Jeffries originally worked for George Jones before starting his own company. Their first concertinas were probably made for them by Crabb, but by the 1890s the company were making complete instruments. Charles Jeffries died in 1906, and his sons Charles Jr and Thomas carried on as makers until around the 1920s.
Concertinas are assigned the number 412.132 in the Hornbostel-Sachs classification of musical instruments ( en.wikipedia.org/wiki/Hornbostel-Sachs ), indicating:
4 = Aerophones. Sound is primarily produced by vibrating air. The instrument itself does not vibrate, and there are no vibrating strings or membranes.
41 = Free Aerophones. The vibrating air is not contained within the instrument.
412 = Interruptive Free Aerophones. The air-stream is interrupted periodically.
412.1 = Idiophonic Interruptive Aerophones or Reeds. The air-stream is directed against a lamella, setting it in periodic vibration to interrupt the stream intermittently.
412.13 = Free Reed Instruments. Instrument features a reed which vibrates within a closely fitting slot.
412.132 = Sets of Free Reads.
28th June 2012 at Broadgate Circle, London EC2 (Söndörgő gig).
The Eastern European Tambura (or Tamboura or Tamburica) is a long necked Lute, which originated in Turkey. In Serbia, Bosnia and Croatia (and also where people of such descent who have settled in Hungary) the instrument comes in a variety of shapes and sizes which come together in a Tambura Orchestra or Tamburitza. Elsewhere in Bulgaria and Macedonia there are more uniform solo instruments.
The Brac Tambura (or Alto Brac or Bass Prim) falls in size between a Prim and a Kontra Tambura in a Tambura Orchestra from the northern former Yugoslavian countres. It is often guitar shaped.
Eastern European Tamburas are assigned the number 321.321-6 in the Hornbostel-Sachs classification of musical instruments ( en.wikipedia.org/wiki/Hornbostel-Sachs ), indicating:
3 = Chordophone. Instruments where the sound is primarily produced by the vibration of a string or strings that are stretched between fixed points.
32 = Composite Chordophone. Acoustic and electro-acoustic instruments which have a resonator as an integral part of the instrument, and solid-body electric chordophones.
321 = Lutes. Instruments where the plane of the strings runs parallel with the resonator’s surface.
321.3 = Handle Lutes. Instruments in which the string bearer is a plain handle.
321.32 = Necked Lutes. Instrument in which the handle is attached to, or carved from, the resonator, like a neck
321.321 = Necked Bowl Lutes. Instrument with a resonator made from a bowl, either natural or carved.
321.321-6 = Strings vibrated by a plectrum.
Note: Strictly speaking the shape of this particular instrument makes it a Box Lute rather than a Bowl Lute. However I’ve decided to keep all the Tamburas together.
This group was entertaining at the cruise port. I had better luck making movies with the camera, rather than stills.
13th September 2011 at the Borderline, London W1.
The Mandolin evolved from the Lute via the Mandore in 17th and 18th century Italy. It became popular in the United States in the mid 19th century, where folowing an instrument produced in 1905 by Orville H. Gibson it adopted a flat back rather than the bowl shaped one. The bodies of modern Mandolins can be either pear shaped or tear drop shaped (i.e. with a scroll carved into the headstock). They also vary in the shape and position of the sound holes which impacts on the sound of the instrument.
Tear drop shaped Mandolins usually have f-shaped sound holes (normally in pairs, one to each side of the bridge). The American Gibson company called this design of Mandolin the Florentine or F-style.
This is a 1924 Gibson F-5 (Serial No 75316, signed by sound engineer/luthier Lloyd Loar). It has been suggested that Chris Thile bought the instrument in 2007 and reputedly paid $200,000.
Mandolins are assigned the number 321.321 in the Hornbostel-Sachs classification of musical instruments ( en.wikipedia.org/wiki/Hornbostel-Sachs ), indicating:
3 = Chordophone. Instruments where the sound is primarily produced by the vibration of a string or strings that are stretched between fixed points.
32 = Composite Chordophone. Acoustic and electro-acoustic instruments which have a resonator as an integral part of the instrument, and solid-body electric chordophones.
321 = Lutes. Instruments where the plane of the strings runs parallel with the resonator’s surface.
321.3 = Handle Lutes. Instruments in which the string bearer is a plain handle.
321.32 = Necked Lutes. Instrument in which the handle is attached to, or carved from, the resonator, like a neck
321.321 = Necked Bowl Lutes. Instrument with a resonator made from a bowl, either natural or carved.
8th October 2020 at Horniman Museum, London SE23.
Launeddas are a Sardinian triple clarinet Three bamboo pipes of cylindrical bore are tied together with cords,with the upper rims adjacent and the pipes fanning out towards the bottom. The smallest pipe (known as the mankossedda) plays the melody, the middle pipe (the mankosa) an accompaniment, Both have five fingerholes. The bass pipe (the tumbu) has no fingerholes and provides a continuous drone note. Circular breathing enables the player sustain the notes without having to stop for breath. Launeddas date back to at least the eighth century and seem to be derived from the Aulos and North African double pipes.
This instrument was made before 1959.
Launeddas are assigned the number 422.221.2 in the Hornbostel-Sachs classification of musical instruments ( http://en.wikipedia.org/wiki/Hornbostel-Sachs ), indicating:
4 = Aerophones. Sound is primarily produced by vibrating air. The instrument itself does not vibrate, and there are no vibrating strings or membranes.
42 = Non-free aerophones. The vibrating air is contained within the instrument.
422 = Reed Instruments. The player's breath is directed against a lamella or pair of lamellae which periodically interrupt the airflow and cause the air to be set in motion.
422.2 = Single Reed Instruments or Clarinets. The pipe has a single 'reed' consisting of a percussion lamella.
422.22 = Sets of clarinets;
422.221 = With regular bore.
422.221.2 = With fingerholes.
20th (or rather early hours of 21st) January 2011 at the Royal Concert Hall (Exhibition Hall), Glasgow.
Bagpipes are first recorded in Scotland around the 15th century. The Great Highland Bagpipes (or Bagpipe) has four reeds, a conical bore chanter, three cylindrical bore drones (two tenor and one bass), plus a bag and blowpipe.
Great Highland Bagpipes are assigned the number 422.112-62 in the Hornbostel-Sachs classification of musical instruments ( en.wikipedia.org/wiki/Hornbostel-Sachs ), indicating:
4 = Aerophones. Sound is primarily produced by vibrating air. The instrument itself does not vibrate, and there are no vibrating strings or membranes.
42 = Non-free aerophones. The vibrating air is contained within the instrument.
422 = Reed Instruments. The player's breath is directed against a lamella or pair of lamellae which periodically interrupt the airflow and cause the air to be set in motion.
422.1 = Double reed instruments or 7s. There are two lamellae which beat against one another.
422.11 = Single Oboes [as opposed to sets of Oboes].
422.112 = With conical bore.
422.112-62 = With Flexible Air Reservoir.
28th August 2016 at Horniman Museum, London SE23.
The Serpent is a bass wind instrument with a mouthpiece like a brass instrument. It is made of wood (usually walnut) with the outside covered with dark brown or black leather, and ia about 2.5 m long. The instrument takes its name from from its snakelike double 'S' curved shape. It has fingerholes (usually six) and sometimes keys. Invented at the end of the 16 century, the Serpent was the standard bass brass instrument bands and orchestras until early 19th century, being replaced by the Ophicleide. It was particularly popular in French churches the accompanying Gregorian plainsong and in military bands.
This instrument was made in the 18th century in France. It has no keys.
Serpents are assigned the number 423.213 in the Hornbostel-Sachs classification of musical instruments ( http://en.wikipedia.org/wiki/Hornbostel-Sachs ), indicating:
4 = Aerophones. Sound is primarily produced by vibrating air. The instrument itself does not vibrate, and there are no vibrating strings or membranes.
42 = Non-free aerophones. The vibrating air is contained within the instrument.
423 = Trumpets. The player's vibrating lips set the air in motion.
423.2 = Chromatic Trumpet. The pitch of the instrument can be altered mechanically.
423.21 = Trumpets with Fingerholes.
423.213 = With Wider Conicial Bore.
This was done for a gentleman in the me mid-west. He is giving it as a gift to a young girl of 12 years old. She's a new member of his family and this is a "welcome to the family" gift.
It's like a zither, but with nylon strings instead of steel. It's chromatic. To learn more about this instrument, listen to this episode of my podcast: samplesize1.com/episodes/episode-3-the-peoples-instrument
Most mandolins these days take after the Gibson A style, with a flat back. My mandolin is a much older gourd-back style. I'm not sure whether it sounds and better or not, but it's a real pain in the butt to keep on your lap when you play.
10 years of looking for one, and I found one I liked. Too bad the damn built-in EQ preamp sounds like a cat trapped in a clothes dryer.
14th July 2013 at One New Change, London EC4 (Jive Aces gig).
The Amplifier takes a signal from instruments such as a guitar, bass gultar or keyboard which then passes through loudspeakers to emerge with a greatly increased volume. They were first used by electric guitars in the 1930s. Combination ("combo") amplifiers include a preamplifier, a power amplifier, tone controls, and one or more speakers in a cabinet.
This is a Marshall amplifier. Marshall is a British company founded by former drummer Jim Marshall. It became famous through the stacks of amplifiers used by Rhythm and Blues/Rock groups of the 1960s like the Who and Jimi Hendrix. A Marshall amp features in the 1984 film