FREE BOOKS

Author's List




PREV.   NEXT  
|<   51   52   53   54   55   56   57   58   59   60   61   62   63   64   65   66   67   68   69   70   71   72   73   74   75  
76   77   78   79   80   81   82   83   84   85   86   87   88   89   90   91   92   93   94   95   96   97   98   99   100   >>   >|  
He adds that a flautist has recently studied this instrument, guided by Hotteterre le Romain's book (1707), and can play more perfectly in tune than "he ever did before upon a highly improved and most expensive modern instrument." The concert-flute of the present day is an elaborate instrument covered with keys, and it has, I believe, been suggested that its tone is injured by this elaboration. Bass flutes have been made, one 3 ft. 7 ins. in length is mentioned, whose lowest note was an octave below middle C. Shawms. {87} The next class of wind instruments dealt with by the author is that of which the oboe and bassoon are typical. Mr Galpin refers to a reed-pipe with which I am very familiar; it is made from a dandelion stalk pinched flat at one end. Its principle is that of the oboe. I well remember admiring its tone as a child, and lamenting its very brief life, for it soon got spoiled. The reed of serious musical instruments is made of two pieces of cane which are flat at the free or upper end and terminate below in a tube which fits on to the instrument. This is an ancient type of instrument, for the Roman _tibia_ is believed to have been played with the "double reed," _i.e._ of oboe-type. I may here be allowed to quote from my _Rustic Sounds_, p. 5: "The most truly rustic instrument (and here I mean an instrument of polite life--an orchestral instrument) is undoubtedly the oboe. The bassoon runs it hard, but has a touch of comedy and a strong flavour of necromancy, while the oboe is quite good and simple in nature and is excessively in earnest; it seems to have in it the ghost of a sun-burnt boy playing to himself under a tree, in a ragged shirt unbuttoned at the throat." A figure is given (Galpin, p. 159) of a goat playing on a shawm {88} from a carving of the twelfth century at Canterbury. The name is believed to be derived from _calamaula_, a reed-pipe, which was corrupted to _chalem-elle_ and then to _shawm_. Shawms were made of various sizes, from the small treble instrument, one foot long, to the huge affair, six feet in length. The name Howe-boie, _i.e._ probably Haut-bois, was applied to the treble instrument as early as the reign of Elizabeth; while the deeper-toned instruments retained the name shawm. The bassoon is only a bass oboe rendered less cumbrous by the tube being bent sharply on itself. A tenor bassoon, known as the oboe da caccia, or teneroon, also existed, and if my m
PREV.   NEXT  
|<   51   52   53   54   55   56   57   58   59   60   61   62   63   64   65   66   67   68   69   70   71   72   73   74   75  
76   77   78   79   80   81   82   83   84   85   86   87   88   89   90   91   92   93   94   95   96   97   98   99   100   >>   >|  



Top keywords:
instrument
 

bassoon

 

instruments

 

treble

 
Shawms
 
length
 

playing

 

believed

 

Galpin

 
undoubtedly

orchestral

 

polite

 

unbuttoned

 

ragged

 

excessively

 

comedy

 

nature

 

simple

 

flavour

 
necromancy

earnest
 

rustic

 

strong

 

Canterbury

 

retained

 

rendered

 

deeper

 

Elizabeth

 

applied

 
cumbrous

teneroon

 
existed
 
caccia
 

sharply

 
Sounds
 
century
 
derived
 

calamaula

 
corrupted
 

twelfth


carving

 
figure
 

chalem

 

affair

 

throat

 

musical

 

elaborate

 

covered

 

present

 

improved