View allAll Photos Tagged MusicalInstruments
2nd April 2015 at the Horseshoe, London EC1 (Barluath gig).
The Harmonium was first developed in France in the middle of the 19th century. It has a set of free reads, a keyboard and bellows. The bellows can be operated in two ways, either by sunction from below the instrument using foot pedals or by pressure from the back using the left hand.
This instrument is of the foor pedal variety, also known as a Reed Organ (or Pump or Parlour Organ). Many of these were made in the 19th century for small churches and some homes.
Harmoniums/Reed Organs 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.
15th October 2020 at Horniman Museum, London SE23.
The Flageolet is a member of the same fipple flute family as the Recorder with a different number of tone holes and a different scale. The instrument was popular in Europe between the 16th and 19th centuries. There are two main forms of the instrument: the French with four finger holes on the front and two thumb holes on the back; and the English with six finger holes on the front and sometimes a single thumb hole on the back.
The Double Flageolet is a type of English Flageolet invented by William Bainbridge of London in 1804, with help from the musician John Parry (who he saw playing two Flageolets together in a single frame). It consists of two pipes fixed together with the top two holes on the right hand one activated by keys. Later in the 1820s Bainbridge invent a Triple Flageolet.
These instruments from left to right were made 1808-20 (by Bainbridge & Wood in London), 1830 -69 (by John Simpson in London), and 1821 -31 (by William Bainbridge in London).
Double Flageolets are assigned the number 421.222.12 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.
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.
421.222 = Sets of flutes with internal duct.
421.222.1 = Sets of open flutes with internal duct.
421.222.12 = With fingerholes.
15th October 2020 at Horniman Museum, London SE23.
The Music Box (or Musical Box) is an automatic musical instrument in a box which produces musical notes through a set of pins placed on a revolving cylinder or disc which pluck the tuned teeth (or lamellae) of a steel comb.
While related mechanical musical instruments existed centurus before in diffrtent parts of the world, the key development was in 1796 when Antoine Favre of Geneva constructed the first mechanical musical movement with vibrating teeth. These mechanisms were placedin scent-bottles, jewellery and other miniatures. Howver the breakthrough came when they were built into wooden boxes with good acoustical properties. Beginning in the early 1800s music automatons flourished in the Sainte-Croix area in the west of Switzerland, (towards the end of the 19th century, up to 600 workers in over 40 companies) and the industry has continued there until today.
This instrument was made in Switzerland around 1960. It takes the form of a Swiss Chalet.
Music Boxes are assigned the number 122.2-9 in the Hornbostel-Sachs classification of musical instruments ( http://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
12 = Plucked Idiophones. Idiophones set in vibration by being plucked.
122 = In the form of a comb. The lamellae are tied to a board or cut out from a board like the teeth of a comb.
122.2 = With cut-out lamellae.
122.2-9 = With mechanical drive.
14th September 2012 at Royal Festival Hall (Bar level 2), London SE1 (Alex Hutton gig).
Suspended Cymbals are part the standard Drum Kit. There are various types. The larger ones are Ride Cymbals (to maintain a rhythmic pattern) and Crash Cymbals (to produce an occasional loud, sharp sound). There are also smaller ones to produce different effects - Bell Cymbals (which are thicker and more curved), Splash Cymbals, and China or Trash Cymbals.
Suspended Cymbals are assigned the number 111.24 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.
111 = Directly Struck Idiophones. The player himself executes the movement of striking; whether by mechanical intermediate devices, beaters, keyboards, or by pulling ropes, etc.
111.2 = Percussive idiophones. The instrument is struck either with a non-sonorous object (hand, stick, striker) or against a non-sonorous object (human body, the ground).
111.24 = Percussion vessels.
8th October 2020 at Horniman Museum, London SE23.
The Shehnai is a double reed instrument from North India. It is 30–50 cm in length, made of wood with a flared metal bell at the end, There are six to eight fingerholes, The Shehnai has a two octave range,
This instrument was made circa 1930 It has seven fingerholes and a vent hole.
Shehnais are assigned the number 422.112.2 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.
422.1 = Double reed instruments or Oboes. There are two lamellae which beat against one another.
422.11 = Single Oboes [as opposed to sets of Oboes].
422.112 = With conical bore.
422.112.2 = With fingerholes.
18th October 2011 at Royal Festival Hall, London SE1 (Mohammad Reza Shajarain gig).
The Persian Tar is a Lute which originated in 18th century (there is also a frame drum with the same name). The body is a double-bowl shape carved from mulberry wood, with a thin membrane of stretched lamb-skin covering the top. It has three double courses of strings, and is played with a brass plectrum. The instrument has an important role in Persian classical music.
Tars (the bowl lute version) 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.
8th June 2013 at Exmouth Arms, London NW1.
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 55 key Duet Concertina made by Wheatstone.
It follows what has become known as the Crane System. Crane & Sons Ltd. of Liverpool launched this in 1912 under the name Triumph, and the instrument was adopted by the Salvation Army. This system is the second most popular of the Duet Concertinas (after the Maccann or McCann system). It differs from the latter in having 5 rows of buttons for either hand rather than 4. In the case of the 55 key instrument, 30 keys for the right hand and 20 for the left.
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.
2nd November 2012 at Old Cranleighan Club, Thames Ditton, Surrey.
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.
To further complicate matters as well as regular concertina there are Baritone versions which are an octave lower.
This is a Lachenal Baritone Concertina.
Louis Lachenal used to work for C. Wheatstone & Co before forming his own company in the 1850s.
The photo shows the difference in size between the Baritone Lachenal and a regular Wheatstone.
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 December 2010 at Royal Festival Hall (Clore Ballroom), London SE 1 (Tango Siempre gig).
The Bandoneón, based on the German Concertina, was popularised in South America, particularly Argentina, and associated with Tango. It is played like a concertina with direction of button movement parallel to bellows movement. It is bisonoric - with different notes when pushed and pulled. With 72 or more buttons, it has a much larger range of notes.
Bandoneóns 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.
27th February 2012 at SOAS (Brunei Gallery), London WC1 (Roopa Panesar gig).
The South Asian Tanpura (or Tambura) is a fretless lute with 4 or 5 strings. Its usual role in Hindustani or Carnatic instrumental music is as a drone instrument. By plucking the strings one after another in a regular pattern a harmonic resonance is created.
Tanpuras 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.
6th April at 2013 Somerset House (East Wing), London WC2.
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 an Eastman F-style Mandolin.
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.
19th June 2015 at The Scoop, London SE1 (Kitty, Daisy & Lewis gig).
Electric Guitars were introduced in the United States in the 1930s. The vibrations of strings are converted into an electric signal, and directed through an amplifier to a loudspeaker.
The guitar in the photo is a 1960s Harmony H-75. It was a slimline double cutaway hollow body guitar produced around 1960-72.
Electric Guitars are assigned the number 321.322-5 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.
321.322-5 = Instruments where the strings are vibrated by bare hands and fingers.
22nd March 2013 at Jazz Café Posk, London W6 (Maria Muldaur gig).
The Digital Piano ais an electronic instrument which attempts to reproduce the sound of the acoustic instrument. The sounds are stored samples.
The instrument in the photo is a Yamaha DGX.
Digital Pianos are assigned the number 5 in the Hornbostel-Sachs classification of musical instruments ( en.wikipedia.org/wiki/Hornbostel-Sachs ), indicating:
5 = Electrophones. Sound is generated by electrical means.
Baron Munchhausen
Record number: 23061901
Artist: Herrfurth, Oskar (German, 1862-1934)
Item caption, front: Münchhausen / O. Herrfurth, pinx.
Item caption/descriptive text, back: Münchhausens Abenteuer. 11. In einem strengen russischen Winter vermochte der Postillon von Münchhausen kein Signal auf seinem Horn zu blasen. Als sie darauf beim Küchenfeuer saßen, tönte es auf einmal: Tereng! tereng! teng! teng! Die Töne waren draußen im Horn fest gefroren, und kamen nun beim Auftauen prächtig zu Gehör. Ganze Lieder und Märsche klangen aus dem Horn. = Baron Münchhausen's Adventures. 11. During a severe Russian winter, Münchhausen's postilion was unable to blow his horn. As it sat by the kitchen fire, it suddenly sounded: Tereng! tereng! teng! teng! The notes had been frozen solid outside in the horn, and now they could be heard magnificently as they thawed. Entire songs and marches sounded from the horn.
Uniform title:
Dimensions: 141 x 91 mm.
Date: ca. mid-1920s or earlier
Nationality: German
Publisher: Uvachrom Gesellschaft für Farbenphotographie m.b.H., München [Munich]-Stuttgart, [Germany]
Series: Serie 324 Nr. 4922
Medium: Uvachrom color print from original watercolor painting
Interpretive notes: Münchhausen and his postilion are astonished when the latter's post horn, which he had not been able to sound outside in severe winter weather, plays itself as the frozen notes are thawed by the kitchen fire.
Subject headings: Fire; Musical instruments
Credit: The Jack Zipes Historic Fairy Tale Postcard Collection/Minneapolis College of Art and Design
E. & G.G. Hook & Hastings, Boston, Massachusetts, Opus 1664, 1895
Angerstein & Associates Revision, 1985
Altered by Frazee Organ Company, South Natick, Massachusetts, 1936
Rebuilt by Ross Abel (Angerstein & Associates), 1968
Rebuilt by Daniel Angerstein (Angerstein & Associates), 1970's
Revision by Angerstein & Associates, 1985
Two manuals and pedal
Slider Chests, Mechanical Key and Stop Action
3 divisions, 12 stops, 7 ranks
24th September 2020 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".
These instruments are Treble Recorders. From left to right they were made 1700-33 (by Thomas Stanesby senior of London), 1725-37 (by Johann Heitz of Berlin), 1734-54 (by Thomas Stanesby junior of London), and 1731-53 (by John Just Schuchart of London).
Recorders are assigned the number 421.221.12 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.
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.
Photo © Tristan Savatier - All Rights Reserved - License this photo on www.loupiote.com/3721293207
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Sadhu (Hindu holy man) with Chimpta - Orchha (India)
The chimpta (or chimta) is actually a fire tong used as a percussion musical instrument.
If you like this photo, follow me on instagram (tristan_sf) and don't hesitate to leave a comment or email me.
17th June 2011 at the Queen Elizabeth Hall (Front Room), London SE1 (Gjermund Larsen gig).
The Harmonium was first developed in France in the middle of the 19th century. It has a set of free reads, a keyboard and bellows. The bellows can be operated in two ways, either by sunction from below the instrument using foot pedals or by pressure from the back using the left hand.
This instrument is of the foor pedal variety, also known as a Reed Organ (or Pump or Parlour Organ). Many of these were made in the 19th century for small churches and some homes.
This one was found in a church by Andreas Utnem, who is a church organist.
Harmoniums/Reed Organs 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.
Description:
Black and white photo of Williams Piano Co. employee Jimmy Jacques playing a harp.
Date of Original:
ca. 1900-1910s
Dimensions:
Width: 5cm
Height: 3.5cm
Subject(s):
Factories
Musical instruments
Local identifier:
LH0810
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
20th May 2011 at the Queen Elizabeth Hall (Front Room), London SE1 (Kit Downes gig).
The Clarinet first appeared in the start of the 18th century, and developed from a Baroque instrument called the Chalumeau. It has a single-reed mouthpiece a straight, cylindrical tube and a flared bell. There are keys, originally two and now usually 17.
The Bass Clarinet is usually pitched an octave below the Soprano. Like the Alto Clarinet, it has a curved neck, straight body and an upturned bell, but is larger.
Clarinets are assigned the number 422.211.2 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.
422.2 = Single Reed Instruments or Clarinets. The pipe has a single 'reed' consisting of a percussion lamella
422.21 = Single Clarinets [as opposed to sets of Clarinets].
422.211 = With cylindrical bore.
422.211.2 = With fingerholes.
22nd June 2011 at London Irish Centre (Presidential Suite), London NW1 (Kane Sisters & Edel Fox 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 Jeffries Anglo Concertina.
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.
15th January 2015 at 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 an Ovation MM68 Acoustic Electric Mandolin, which by Lucy Kaplansky borrowed from her tour manager. With a built-in pickup and preamp, it is designed to be played amplified as well as unplugged. The roundback body gives a greater volume than a flatback instrument.
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.
25th October 2014 at London Irish Centre (McNamara Hall), London NW1 (with Breaking Trad).
The Accordion is a bellows driven free reed instrument. From the 1820s onwards several different free reed instruments were invented across Europe (the first to use the name Accordion was patented in Vienna in 1829). They evolved into three main types of instrument: Diatonic, Chromatic and Piano Accordions (as well as Concertinas).
The Diatonic Accordion is operated by pressing buttons or keys which allows air to flow across the reeds (these are strips of brass or steel) which vibrate to produce sound. It is bisonoric (the buttons make one note when the bellows are compressed and another when they are expanded).
The Button Accordion or Box is the name in Ireland for the two row Diactonic Accordion (the English term Melodeon being restricted to the one row). Button Accordions look just like English Melodeons, but there is usually a semi-tone between the rows rather than a fourth.
The instrument in the photo was produced by the Italian maker Paolo Soprani. This company founded in the 1860s and its instruments were exported around the world. In the 1950s and 1960s the Soprani instrument displaced the Melodeon as a key instrument in Irish traditional music. Popularity declined in the 1970s and the company folded in the early 1980s (though the name was sold to and used by other manufacturers).
Button Accordions are assigned the number 412.13.2 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 March 2011 at the Forge, London NW1 (Food gig).
The Saxophone was invented in 1841 by Adolphe Sax from the Belgium. It consists of a single reed mouthpiece and a conical metal tube, with keys which open and close by pressing buttons with the fingers.
The Soprano Saxophone is usually straight and has a higher pitch than most other members of the Saxophone family (there are Sopranino and Soprillo instruments with higher pitches, but these are much less common).
Saxophones are assigned the number 422.212 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.
422.2 = Single Reed Instruments or Clarinets. The pipe has a single 'reed' consisting of a percussion lamella
422.21 = Single Clarinets [as opposed to sets of Clarinets].
422.212 = With conical bore.
19th September 2013 at the 100 Club, London W1 (Jimmy LaFave gig).
The Slide is a hollow cylinder which goes round a finger (usually the third or fourth one of the left hand of a right handed musician) and is pressed against the strings of a Guitar. By moving it along the strings continuous transitions in pitch are achieved. The original slides were glass or “bottlenecks”, typically from a Coricidian cold remedy medicine bottle or a wine bottle. Metal slides or steels were also used to play what became known as the Steel Guitar (allegedly after experiments with a knife on Guitar strings). From around the 1970s specially manufactured slides made from both glass and metal were readily available in music shops. In the 1980s ceramic and porcelain ones were also developed.
The slide in the photo is a transparent glass one.
5th July 2012 at the Jazz Café, London NW1 (Christian Scott gig).
The Rhodes Piano is an electro-mechanical instrument invented by Harold Rhodes and commercially available since the 1960s. Hammers strike wires with the vibrations amplified by a pickup which are then given external amplification.
Rhodes Pianos are assigned the number 5 in the Hornbostel-Sachs classification of musical instruments ( en.wikipedia.org/wiki/Hornbostel-Sachs ), indicating:
5 = Electrophones. Sound is generated by electrical means.
5th August 2012 at Exhibition Road, London SW7.
A Steel Pan is a pitched percussion instrument from Trinidad and Tobago derived from an oil drum. It is struck with a pair of rubber tipped sticks. Steel Bands bring together different sized and pitched instruments.
A Triple Guitar Pan is baritone pitched and provides the main chord strumming.
Steel Pans are assigned the number 111.241.1 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.
111 = Directly Struck Idiophones. The player himself executes the movement of striking; whether by mechanical intermediate devices, beaters, keyboards, or by pulling ropes, etc.
111.2 = Percussive idiophones. The instrument is struck either with a non-sonorous object (hand, stick, striker) or against a non-sonorous object (human body, the ground).
111.24 = Percussion vessels.
111.241 = Gongs. The vibration is strongest near the vertex.
111.241.1 = Individual gongs.
Great mechanical organ with clock by Johann Georg Strasser (1801). It could perform 13 pieces (11 by Mozart, - including the Fantasy KV 608, - 1 by Jos. Haydn and 1 by A.Eberl). The instument was bought by the Emperor Alexander I and placed in Hermitage in 1805. Later the 14-th piece (Wagner's Ouverture to "Tannhäuser") was added by Strasser's grandson Alexander.
19th July 2013 at St Ethelburga’s, London EC2 (Warmi gig).
The Siku (or Antara or Zampoña) is a Panpipe of the Aymara people living near Lake Titicaca (on the border of Peru and Bolivia).They are usually made of bamboo shoots, and come in a variety of sizes. The ends of the pipes in the rank nearest the player are stopped by a node, while those furthest from the player are open.
The most common is the Siku Ch'alla, whose longest pipe is around 30 cm. They have two rows of pipes (usually with 7 or 8 pipes in each row).
Sikus are assigned the number 421.112.3 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.
421.1 = Flutes without a Duct. The player makes a ribbon-shaped flow of air with his lips.
421.11 = End-Blown Flutes. The player blows against the sharp rim at the upper open end of a tube.
421.112 = Sets of end-blown flutes or panpipes. Several end-blown flutes of different pitch are combined to form a single instrument..
421.112.3 = Mixed open and stopped panpipes.
21st August 2016 at Horniman Museum, London SE23.
The Bentside Spinet is small Harpsichord with an approximately triangular shape. The side on the right has a double curve toward the right rear corner (hence the name of the instrument). It is distinguished from the Harpsichord in that the strings and spine run transversely to the player and are not parallel to the key levers. The Bentside Spinet originated in Italy but was most popular elsewhere, particularly England.
This instrument was made in 1709 by Nicholas Blanchet in Paris. French keyboards, in contrast to English ones, often featured painted and gilded finishes. The stand and decoration probably date from the 19th century, with the painting inset in the exterior of the lid from the 18th century.
Bentside Spinets are assigned the number 314.122-6-8 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.
31 = Simple Chordophones. Instruments which are in essence simply a string or strings and a string bearer
314 = Board Zither. Instrument uses a string bearer that is shaped like a board, or is the ground.
314.1 = Instrument with strings parallel to the string bearer.
314.12 = Instrument has a resonator.
314.122 = Box Zither. Instrument has a resonator made from slats.
314.122-6-8 = Strings are caused to vibrate by plectrum and keyboard.
4th December 2010 at Bull's Head, Barnes, London SW13 (Don Weller Quartet gig).
The Double Bass, like the other members of the Violin family, first developed in 16th century Italy. Its playing range reaches an octave below the Cello. When played in many styles such as jazz and folk (and in most of the photos I take), the strings of a double bass are vibrated using the player’s hands rather than a bow. However, the classification indicates the mode in which the instrument was intended to be played.
Double Basses are assigned the number 321.322-71 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 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
321.322 = Necked Box Lutes. Instruments in which the resonator is built up from wood.
321.322-7 = Instruments where the strings are vibrated by bowing.
321.322-71 = Instruments where the strings vibrated using a bow.