APPENDIX

I.

HINTS TO THOSE "WHO HAYE THE CARE OF PIANOFORTES.

General Directions.

When

we take

into

consideration

construction of the pianoforte,

dampness and currents of

points,

A pianoforte

never be placed on a

be obvious that the ijistrument should be zealously preserved from

All sonorous musical instruments are extremely susceptible on these

air.

should always stand in a place perfectly dry, and of mean temperature.

damp ground

floor; or

instrument will never stand in tune,

3.

cleaned,
3.

great variety of woods, metals, leathers, &c. used in the

and we cannot be too particular in our care of them.

1.

An

will

it

tlie

A pianoforte
it

should never be

would be well to cover the

A pianoforte

left

open when

it is

not being used

should never be placed too near a stove, chimney, or

some

crumb

free

is

being

Extreme heat

fire-place.

from dust.

No

jingling or whizzing sound, the cause of which

It is also important to

it is

remark that the

with books, music, and other objects.

AU

is

light substance, as a

of bread, &c. should be suffered (in a square or grand pianoforte) to lie

the sounding-board or the strings of the instrument, as they will in

5.

and when the room

of the delicate machinery.

The instrument should always be kept clean and

needle, pin, a bead, a

air.

entire instrument with a baize, or skhi case, fitted to its shape.

particularly injurious, and often causes the warping of

4.

must

between two windows; or between a door and a window.

exposed to draughts or currents of

if

It

all

on

probability produce a disagreeable

not always easy to detect.

lid

or .top of the instrument should not be loaded

weights placed in this manner are calculated to injure the

tone of the pianoforte, and to produce an unpleasant jarring during performance.

6.

Keep

the instrument always in tune, and fully drawn

ought to be tuned once every

generally a

little

their tension.

six weeks,

if

much

played on

up

and

to

concert pitch.

oftener, if

new.

pianoforte

Metal strings are

too sharp in dry frosty weather, because the cold condenses their material and increases

In hot summer weather, they

are

somewhat too

several times before they will stand well in tune.

When

flat.

New

a string breaks,

strings require to be
it

drawn up

must be replaced by another

of exactly similar thickness.

AAA

APPENDIX

370

How

The

and

walls, floor,

resonance

sufficient

such rooms

is

produced in a room, and increase by

utmost importance that buildings designed for audiences,

It is of the

The

resonance to give tone and volume to the sounds.

that their length be about two thirds greater than their breadth, in order that the sounds

should somewhat exceed the breadth

of a coach roof.

If a

room has

and the

ceiling is better

when they

or any soft covering on the floor, absorbs reverberation

combine with the direct sound and swell

pianoforte,

as convenient.

The

The reason

the flooring

when

it, is

possible, should

upon which

is,

Italy, orchestras are

reciprocating floor

hung upon

made

in the shape

Yenetian

the walls.

Carpets, matting,

because the echo, which would otherwise

fibres.

much

be placed away from the wall, and as

a large sounding board,

into a similar state of vibration,

the superincumbent air adds to the original tone and renders

In

is,

The height

in the room

and greatly enhances the

wood

that the sonorous vibrations created by the pianoforte puts the

pkced

it is

that

drawn forward.

are

smothered amidst the

floor then, if hollow, acts as

of this

when coved

too great an echo, drapery should be

shutters are excellent preventives of echo, especially

The

walls,

best form for the interior of

from the side walls may mingle with the direct sounds and strengthen them.

reflected

effect.

is

be so constructed that there may be no perce'ptible echo from the

particularly music rooms, should

but a

place a Pianoforte for Effect.

echo every sound whicli

ceiling,

volume and length.

its

to

I.

it

and

more

its

of

simultaneous shocks against

audible.

constructed with especial reference to the advantage to be derived from a

but in this country, such things are paid but

little

attention to

the practical part

of acoustics being sadly neglected.

How

We

prevent the Sounds of the Pianoforte from heing heard in the adjoining Chambers.

to

have many of us experienced, and are

door neighbours, on each

unseasonable.

Now

all this

might

filled

effectually buried there,

filled

the sound.

if

experiencing, the intolerable nuisance of our next-

practising the pianoforte at all

to be non-conductors of sound.
an-,

the space were

filled

The reason

every sound which finds

and that between the

gummed

hours, seasonable and

be remedied by constructing the walls of our dwelling-houses

and cannot penetrate to the outer

with brown paper,

Or

left,

with rarefied

surfaces of the partition walls,

were

easily

known

with hollow bricks, which are

hollow portion being

and

side, right

still

ceiling of

surface.

its

way

of this

is,

that the

into such a

mass

is

If the space between the two

one room and the flooring of another,

over with flock or sawdust,

it

would aid materially

with shavings, tow, or cut straw,

it

to

deaden

would probably have

tlie

'

APPENDIX
same

effect.

371

I.

All these substances are bad conductors of sound ; because they shut up a large quantity

The sound

of air between their minute detached parts, so that they cannot readily transmit an impulse.
is

thus entanglei, as

if

not altogether

it

were, and, being no longer able to preserve

of our knowledge

little

volume on Sound and

of these matters, says,

mechanic has yet contrived a substance for

considered.

regular outline, becomes deadened,

lost.

The Eev. Dr. Brown, from whose

we gather much

its

partition-walls,

" It

is

its

Phenomena (Longmans,

truly surprising that

no ingenious

where cheapness and lightness are especially

Nothing, for example, could be easier than to make panels with two sheets of

pasteboard or tarpauling, separated from each other by wooden blocks.

strewed over the inner surfaces, and the intervening space be well

A wooden

filled

made

to lie over the supporters.

Such a

partition wall

common

Sawdust should be thickly

with coarse tow or cut straw.

" upright" of the thickness of the blocks would hold the panels

the edges were

1854!)

in their place,

would be a

real

especially if

boon in

hotels,

&c. where chambers are often separated by half-inch wood, or by simple canvass."

"We have somewhere

before papering,

it

would

a substitute for this

is

read, that if the walls of rooips were covered with a solution of gutta percha
effectually

deaden

all

sounds from the adjoining chambers.

the guttapercha lining, extensively used of late years in covering

Or,

we

damp

A A A

believe,

walls.

APPENDIX

II.

ON TUNING.

The

system of tuning here explained

adopted throughout Europe.

that of

is

Equal Temperament,

Its inestimable advantage

is,

that

it

whicli is

now

enables us to employ

universally

the twelve

all

major and minor scales with equal freedom, and without a fear of offending the ear in any of them more
than in another; thus giving unlimited room of play to aU the wonders of modern harmony.

The

chief difSculty in tuning consists in

the twelve semitones of an octave, that they

By

a peculiarity in the musical scale,

if

making what

may become a

is

termed

tixe

partiiion ; that

first

pianoforte tuned in this

thirteen notes were tuned perfectly true, advancing

diminishing a

little

C, but would be found to be a

manner would be

so to tune

basis for tuning the rest of the instrument.

(begmning, for instance, from C), the thirteenth note, a sharp forming the twelfth
a true octave to the

is,

false at the

the elevation of each

an

fifth

little

higher.

fifth,

by

fifths

would not be

It follows, therefore, that a

end of the operation.

Hence the

necessity of

operation to which has been given the

name of

Temperament.

The

intervals of

most use in tuning are the unison, the

octave, the

the major and minor

^tk, and

tliirds.

TAe Unison.

The

unison, or identical sound,

is

the easiest iaterval for the student to

commence

with.

In

instruments which have only two strings to each note, as in square, cabinet, and cottage pianofortes,

one half the strings are always tuned by means of unisons

and in grand pianos,

each note, whether horizontal or upright, two thirds of the strings are so tuned.
or identical sound, is the interval, if

which

it is

We

it

may be

so called, which

of.

three strings to

Hence, the unison,

most frequently occurs in tuning, and

of the highest importance should be tuned with perfect accuracy.

wiU suppose that the student has provided himself with a tuning liammer, and that he has

seated himself at the instrument.

Let him then

strike

any note in the middle of the key-board

APPENDIX

i =^

for

example; and we

shall at

is

suppose this note to be accurately in tune.

first

listen attentively to the vibration of the strings,

pim

the

hammer

Then

let

him

little

towards the

flatten or depress its pitch

left

depressed will approach nearly to that of

is

coiled or twisted,

by relaxing the tension of the

this,

so that, instead of sounding

^_

-^

the pitch

the note next below

string,

it.

a note that

several times, let

apd,

if

he

much

out of tune.

him then turn the hammer

become slower and

slower,

sound ; and

and apparently

first

and by almost imperceptible degrees,

two strings approaches more and more nearly towards

and fainter and

these, as

he proceeds,

fainter, till

they subside into mere gentle wavings, or undu-

will at length disappear,

which constitutes the

and give place to one steady, pure,

real unison.

will at first experience considerable difficulty in tracing this progression

and jarring sounds

are sensible of

hear several strong and quick beats, which, as he proceeds, will gradually

single sound,

The student

strikes the

After striking the note thus purposely put out of tune

to the right, gently

listens attentively as the pitch of the

coincidence, he will at

lations of

is

string thus

now

we

and turn

will sensibly

of the

If he

C, he will hear nothing but a confused collision of harsh and jarring sounds, such as

when we touch

lie

hammer on one of

place his tuning

or jie^s round which one of the strings belonging to the note

a very

If

he will hear a steady, pure, continuous sound, such as

produced from a single string when struck alone.

the

373

II.

to beats, at first quick

and strong, and then gradually slower and

from confusing

fainter, till

they

insensibly degenerate into mere waves, or gentle undulations of sound, and ultimately disappear, and

give place to one pure and uninterrupted sound.*

Considerable practice

minute degrees.

is

required to gain flexibility of wrist, so as to turn the

hammer by extremely

These gradations supply the only mechanical helps of which the tuner can

himself; and without a distinct perception of them through their various degrees,

with the finest musical

ear, to

it is

avail

impossible, even

tune a pianoforte tolerably.

The Octave.
After the student

is

able to tune a perfect unison, he

interval to the unison in point of importance

and

facility.

may

proceed to the octave, which

is

Here the sounds, though no longer

the next
identical,

have so strong a resemblance to each other, that, when struck together and perfectly in tune, they seem

* The cause of this phenomenon is beautifully explained

An Essay on the Theory and Practice of Tuning, &c.
published by Robert Cocks and Co. ISv'iS, p. 34, et seq.

in

See also Hamilton's Art of Turning, to which valuable

little work we have to acknowledge our obligations in drawing up the above rules.

374
to

APPENDIX

form but one single sound, the lower note,

as

it

II.

were, seeming to swallow

up

or absorb the upper

one.

In tuning
and

same progressive gradations of

this interval, the student will discover the

waves,

heats,

final coincidence of tone, as in the unison.

For the purpose of tuning one note an octave to another,

it

becomes necessary to stop the vibra-

tions of one of the strings belonging to the note to be tuned, in square, cottage,

and two of those

strings in

of leather, card, or even paper, which

we wish

of which

to stop the vibration

and the adjacent

is

the foot, shifts the whole key-board a

string,

placed under the

little

pedal

is

moves up and down

the pedal

is

When

in a groove

pressed down, the

will

still

on the right

hammers

strike

two

of the key-board,

hammer

In grand pianos of three

it.

be

first

drawn up

strikes only

one

when

the

strings,

In

when pressed

strings, unless the small vertical bolt

side of the key-board

will strike only

little bit

belonging to the next note to

left side

which

and then, when

one string belonging to each note.

the student has tuned an octave, by striking the notes

quick succession

done by means of a

is

to the right, so that the

string belonging to each note throughout the instrument.

pressed down, the hammers

this

and which must be inserted between the string

called a damper,

is

cabinet and cottage pianos, the pedal, which

down by

In square pianos,

grand instruments.

and cabinet pianos

together, let

him

also try these in

thus

i
at the

same time holding the bottom note down

are in reality

still

any mistake in

too

flat

and

this striking

for the ear is apt to fancy

them one

them

in tune, while they

after another will greatly assist

him

in detecting

this respect.

In tuning octaves in the

ticularly in the very

bass, the student

must be

careful not to

strike the notes too hard, par-

low notes.

The Fifth.

When

this

concord

is

perfectly in tune, the ear cannot detect either waves or leats ; but both

notes unite in one pure, agreeable, uninterrupted complex sound.

the

fifth perfect,

though we

shall presently

show that

it is

Major and Minor

The major and minor

thirds are the

It will be desirable at first to tune

not so tuned in practice.

Thirds.

most agreeable concords in music*

In tuning, however, they

are only employed as tests of the accuracy with which the other intervals have been tuned.
perfectly in tune, they have neither heat nor wave,

complex sound.

When

but coalesce in one pure, agreeable, uninterrupted

APPENDIX
On Laying

that the white note in each bar

is

Means of

the Bearings ly

In studying the following diagram, or scheme

375

II.

Fifths.

for tuning the pianoforte,

it

must be borne in mind

already tuned, the black one remains to be adjusted.

Note giyen by
the Tuning-fork.

1st Fifth.

Back

10

Fifths.

11

Jo^-

^-|

i*

^^
Hxplanation of the Scheme,

In the above scheme

As

jifth.

it is

it

will

be observed that the only intervals employed are the octave and the

more easy to tune the notes

situated in the middle of the key-board with accuracy, than

those which are placed towards the extreme ends of the instrument, the scheme

include

all

The
The

the notes between '^

first

note

octave,

and

"

is

is

so devised as to

i
C

obtained by means of a

tuning fork*.

our modern system of keyed-stringed-instruments, being divided into twelve

in

semitones, and only one of these notes being given us by the tuning fork, the remaining eleven notes-

12346

must be obtained by means of a

10

(tuned before)

circle or series of eleven

* James Broadwood

The order

(the son of the first

Broadwood)

was the author of a Practical Method of Tuning, called

" Broa'dwood's Temperament of the Musical Scale."
He
says, after mentioning that

most tuners begin their operations

with the note C, " I prefer tuning from A, the second space
remote from the finishing

in the treble clef, as being less

fifths,

tuned

than any other point of departure

to the fork,

tune

that octave, a fifth

an octave

the

FS

then
fifth

below, an octave

above a

above

then

C, G, D, A, E, B, 1?$, C|:, GJf

as

11

or Ab, Eb, Bb, P, C.

fifths,

fifth
its

A being
then E above
the

then

below,

octave FJ} below

in which the eleven fifths are tuned

then CJt,

then

its fifth

Git, its

.above

from A, tuning D,
then G,
its

its

The

flatter

fifths

is

then F,
its

its

GJf ,

fifth

indicated

above

and

then take a fresh departure

below

then C,
its fifth

then G,
its fifth

below

below

its fifth

below

then C,

then Bb,

octave above; then Eb, its

fifth

its fifth

below.

tuned from notes below are to be tuned

than the perfect

tones above

This

then Bb,

five

We

its fifth

octave above

octave above

below

then

octave below.

is

fifth

and 'the six

fifths

must be made sharper than the

similar to the equal temperament.

tuned from

perfect fifth."

376

APPENDIX

by the
a very

figures 1, Z, S, &c.
little flatter

When we
Eb,

All octaves are

than perfect.

to he

This, as

II.

we have

already explained,

arrive at the eighth fifth of the series, instead of proceeding

it will

be better to retrim to C, and tune the remaining

In adjusting these
form a perfect

latter fifths,

fifth

marked

10, 11, the student must

fifths

The operation we have thus explained

all

first

is

is

called

he tuned

tempering them.

onwards in the

circle to

DJ

or

tune the bottom note so as to

as he

by exactly the same quantity

which were i\mR^ forwards.

diminished qx flattened, as the lower extremity

important step in tuning, as

it

is

a/re to

backwards, as shown in the scheme.

fifths

with the upper note, and then sharpen

depressed the upper notes of the

fifth is still

9,

All the fifths

tuned absolutely perfect.

By

means the

this

interval of the

brought nearer to the upper one.

called laying the hearings ;

it

forms the most delicate and

the other notes on the instrument are tuned to these notes by

means

of octaves above or below.

It is not,

however, necessary to tune the

whole

trying the accuracy of what has already been done.

in the scheme,

if it

is

we may

try the major third

somewhat sharper than

that so far all

is

perfect,

correctly adjusted.

but

A
still

~~^"

Is soon

^=^

series.

of fifths before
as

we

is

all

we

of

numbered 4

properly in tune

and agreeable

must be applied to

similar test

we have the means

arrive at the fifth

If this third

very harmonious

These triads may be represented in notes, as follows

4th Fifth of

circle

that

may be

the subsequent

is,

sure
fifths.

APPENDIX
Notes

to bs

377

II.

Tuned.

zK

&c. to the
top of the
iDstrument.

Notes already Tuned,

Notes already Tuned.

'^

--g:

ei

1;-

to be

\^-

Jt?=^.

it is

desirable to

go over the octaves in the treble again,

in pitch while the bass notes are being tuned.

And,

finally,

instrument as thoroughly in tune, each note should be compared with

below

&c. to th'e
of the
instrument.

bottom

-99Z

=#

Tuned.

After having tuned the bass notes,

fall

'^-=:pi=i
Notes

are apt to

its

before

we

as they

consider the

octave and double octave

thus

^
fe

*=

(f

&c.

ih-

^=

Efe

In tuning a
series of notes

cottage, or semi-cottage, or piccolo piano,

upon one

string,

and then to tune

all

it

will

be desirable to adjust

first

the whole

the second strings in unison to those of the

first

series.

In a grand piano,
the

first

and second.

we proceed

We
as they

after the

second set of strings

is

tuned,

we must tune

the third set in unison to

In square pianos, the second string to each note must necessarily be tuned before

to another note.

do not intend to notice the various systems of unequal temperament that have been proposed,

The system

have long since been abandoned.

of equal temperament

is

that which

now

prevails

throughout Europe.
It is perhaps desirable to mention another

by some eminent
groundwork

tuners.

is laid,

The method

is

by

method of laying the

fifths

i
The

fifths are

which has been adopted

and fourths, omitting tuning the octaves until the

as follows

Pitoli-iiote.

zsn.

bearings,

'

0-

i"~B

P--

iitt"

'

10

:tiz

s*ftr

m
11

or

tuned a

little flat

and,

by the same

rule, the fourths a little sharp.

B B B

378

APPENDIX
In the above scheme, we

have tuned the following notes within the

w-

--^

-p

and have avoided the

possibility,

getting the octaves true.

when tuning

circle of the octave;

thus

-M

the octaves between the

fifths, as in

other methods, of not

The

Besides which, the grouud-work or bearings will be sooner laid down.

would be

trials

II

or

-h
The

E^^S

way

by habit ; but

as they can,

is

Q^i

the necessity of tempering the

and amateurs who do not possess

artists

and by

IS IS
i

ii-

great difBculty in tuning

are guided
their

shall

II.

-fei

Jtl

i-

fifths.

In

this,

:&8=^S::

professional tuners

this practical skill are obliged to feel

their repeated experiments, increasing

and diminishing the tension of the

and frequently end by breaking, without having the means of replacing

strings, always injure their tone,

them.
"With a view to remove these objections,

MM.

Eoller and Blanchet, of Paris,

invented, in

1837,

an instrument, to which they gave the name of Chromametre, by the help of which a pianoforte can be
tuned without the trouble of temperament.

sounded by means of a hammer placed

Its total length

a pianoforte.

is

internally,

thirty inches

thickness, tliree quarters of an inch.

The instrument

and which

its

The handle

consists of a vertical

is

monochord, which

put in motion by a key similar to that of

greatest breadth, four inches and a quarter

is

and

at the

sharp, G,

sharp. A,

a spring, which can be fixed at

it is

to

B.

sharp, and B.

The

string

is

placed on C,

raised or lowered at pleasure, steadily,

will

sharp, or

D,

upon

down

its

sharp, or

sharp,

D,

and without

with an easy action

effort.

either of the degrees, modifies the intonation,

gives the C,

and

fastened to a pin at the upper end,

lower to a brass hook, mounted upon a screw, which works up or

by means of this, the pitch is gently

as

furnished with a copper plate, divided into twelve

degrees, which, like the heads of the jacks in a pianoforte, are inscribed with the initials C,
sharp, E, P,

is

D, and so on with the

A bridge with
and according

rest,

continuing

After this, nothing remains but to tune each of these notes at the octave, to the two extremities

of the piano.

The back

of the Chromametre

the height of the key-board

to be tuned in unison,

The

is

disposed in such a manner as to be adapted to

pianofortes at

so that the note of this instrument, and that of the instrument intended

may be touched

simultaneously.

ide^ of such a regulator, however, was not entirely new.

had already proposed something of a

Sydeme de Musique, avec

all

la description

similar kind, as far

Prancis Louhe, a Prench musician,

back as 16Q8, in a work entitled Nouveau

du Sonometre, imirument b cordes d'une nouvelle invention pour

APPENDIX
apprendre a accorder

le clavecin.

to be tuned beforehand,

by which means

Ambrose Warren, " a

called a Tonometer.

But

Sonomeire being mounted with several strings, was obliged

this
it

379

II.

rendered

all

the expected results illusory.

lover of musick," in the next century, invented an instrument which he

fuU description of

was printed in a now rare

it

tract, entitled

The Tonometer

Explaining and Demonstrating, ly an easie Method, in Numbers and Proportion, all the 32 distinct

and
or

different Notes,

Common

Adjuncts or Supplements contained in each of Four Octaves inclusive, of the Gamut,

Scale of Musick.

With

and Distance.

exact Difference

their

on any Key'd or Fretted Instrument, may easily know how

Tune

to

Whereby the Practitioner

the same,

London, 1725.

8fc.

Scheibler's apparatus for tuning pianofortes, consisting of a series of pulsatory tuning

answering exactly to the twelve semitones of the equalized

satisfactory invention that has yet appeared.

scale,

This ingenious

and the octave of the

artist

forks,

tonic, is the only

has succeeded in providing for the

musical world a measure of sound which, in regard to accuracy, surpasses the most rigorous demands
that can be

We

made upon

strongly

it,

whilst

recommend the

its

application

perusal of

An

is

as easy as

it is

free

from the

Essay on the Theory and Practice of Tuning in General, and

on Scheibler's Invention of Tuning Pianofortes and Organs by the Metronome

written

little tract,

At

known

possibility of a mistake.

a lucid

and charmingly

published by Eobert Cocks and Co. in 1853.

the recent meeting of the British Association (Aberdeen, Sept. 1859), the

Abbe Moigno made

a discovery which promises to be of the highest importance to musical science.

He

laid before

the section of Physical Science a collection of sheets of paper in which were registered the sounds of the

human

voice, organ pipes,

and the tuning

fork, to the

a self-registration has never before been made,

science,

and

its

amount

of

500 or 1,000

vibrations.

So accurate

and was judged almost impossible by the great masters of

success was greeted with enthusiastic admiration.

This continued euregislration forms an undulatory curve so perfectly and distinctly traced that the

naked eye can

easily

reckon the innumerable vibrations, especially when

periodical intervention of a chronometer.

curves undergo

when

It

is

it is

divided in periods by the

very interesting to examine the variations which the

the sounds are the results of the component parts of different

harmony

for

instance, a note with its octave, third, fourth, or fifth, or any other consonant relation, as the 17th or 19th.

When

the sounds are very nearly in harmony, but not in perfect accord, their simultaneous resonance

produces beats, and these beats are perfectly indicated or made

known

to the

naked

eye.

B B B 2

APPENDIX

III.

HOW

TO EEGULATE DEFECTS

Most

musical instruments are liable to defects, from various causes

pianoforte,

from the

The following

but more especially the

entitles

them

are not put forth with a view to supersede the professional regulator.

Ear

have been carefuUy gleaned from those whose experience

They have been compiled

it.

THE MECHANISM OE THE PIANOFOETE.

and complicated nature of the machinery appertaining to the " action."

brief directions

They

to consideration.

from

delicate

EST

purpose of aiding and assisting those who, from

solely for the

cumstance or situation, are unable to secure the services of the experienced in these matters

cir-

and as

mere " hints," they may probably prove acceptable to many.

The Sticking of the Keys.

The
follows
3.

causes of some of the accidents that take place in the key department of the pianoforte are as

"L.

When

When

the end of the hopper that touches the under

against another,
substance,

either pin is too tight in the mortices.

is

5.

When

a key touches the front

between two keys.

7.

When

key touches

the pillar of the hammer-rail.

two keys.

10,

When

9.

When

the leather on the under

(3.)

File the mortice carefully.

Black lead

it,

it

if so,

plane a

hammer

it

rough.

is

For the

latter, a

all

one key sticks

of the key-frame.
is

8.

When

under a key, or betwixt

rough.

the spring by straining

stick.

(4.)

if

very gently, in case the mortice

(8.)

it

little

from the hopper.

Eirst consider whether the pins are

outwards by putting a piece of paper or card between that and the frame.

Great care must be used in

When

too strong.

a pin, needle, or any other detached

where the keys touch ; or

mentioned can be remedied without directions,

4.

is

remedied.

Weaken

little off

back with a warm iron; press

When

is

the hopper spring

any glutinous substance

and rub the inner edge with a hard

ia a proper position

bend

(2.)

hammer
6.

slip.

When

a key touches the cheeks

Mow
(1.)

2.

a key
is

is

weak.
(6

and

Hollow out carefuUy a large

considerably warped,
(5.)

7.)

Incline the slip

The

defects here

space.

these operations, particularly in opening the mortices or pin-holes.

very fine key-file must be used

flat

one for the square hole, and a round or

rat-tail

APPENDIX
round hole under the key.

for the

file

381

III.

In taking out a key, great caution must be used.

frout block or blade of the hopper forward with your finger, to prevent

while with your other hand you gently Hft up the key and pull
in replacing

it

Draw

the

touching the under hammer,

its

The same

out.

care

requisite

is

it.

The ClicJdng or Rattling of the Keys

Takes place from the following causes

one key against another.

By

3.

1.

friction of the

When

the pin-holes are too large.

key against the front

against one of the pillars that support the hammer-rail.

6.

When

the ivory or ebony

8.

When

the key

loose.

is

unsound.

is

7.

When

9.

10. Wlien some hard detached substance

key-frame
13.

is

When

a pin

cheek of the

When

16.

levers.

18.

case.

that of the next key.

against the

board.
23.

lies

betweeu the key and

bottom.

to the

damper

22.

When
21.

lever.

When

on a key.

is

Sow

it is

Wedge

this purpose.

(2.)

a piece of paper

Hollow

(5.)

(11.)

it.

the key.
jt.

An

(19.)

24.

off

When

a key touches a

it

to rattle

When

end near the damper

a hopper or hopper-guard

when

extremely thin chisel, bevelled on both sides,

Carefully remove

Hammer
if

it till

it

firm.

is loose.

and clean away the

(8.)

Glue

it.

slip

glue,

(9.)

is

necessary for

outwards, aud place

carefully

a large space.

aud reglue

Eenew

it.

it

with strong

(10.)

they are tight, place some brown paper betwixt the

The screws may

the roughness.

(14.)

lever.

aU the keys,

this defect occurs in

Hollow out

PoHsh

it

the further

(4.)

(7.)

the

remedied.

require to be replaced by larger ones.

I'ile

(16 and 17.) Eeduce the parts touching.

Kle

at

that and the frame.

(6.)

When

11.

too hard, causing

card between

Erst examine the screws;

(13.)

is

Inchne the

underneath.

soft.

the ivory or ebony touches

(3.)

bottom, where the vacancy occurs.

move

When

where the keys touch.

aud a small quantity.

glue,
it.

it

or

17.

little off

Plane a

not sufficiently

the further end of the key touches two

19.

the key on one or both sides of the mortices

better to introduce thicker pins.

loose.

is

the further end of the ebony touches the front of the name-

key touches any hard substance

is

cloth or baize.

the leather at the further end of the key

When

key

loaded

is

a loose splinter is in the pin-hole.

When

15.

key

friction of the

the metal of a pin has communicated itself

a key touches the name-board.

Wlien any hard detached substance

(1.)

When

14.

tjie

key touches a cheek of the hammer-rail.

Whtn

20.

When

12.

friction of

the key touches the balance-jail.

the cloth or baize under the

rough, at or near the head.

is

When

By

the lead with which the key

which has become too hard or corroded.

to the hole

damper

not firmly attached

When

5.

4,

slip.

By

2.

very smoothly, or perhaps the key

the mortice and clean the pin.

Eemove
rail

(12.)

(15.)

and
Ee-

Eeduce

(18.)

Eaise the latter and place some cloth under

may

require wedging.

(20.)

Eenew

the leather.

APPENDIX

^82
Saw

(21.)

or

file

The hopper may

(24.)

require a

new

: 1. A

chief causes are as follows

A looseness

the groove.

3.

tennant.

A roughness

6.

hard under-hammer.
the regulating screw

8.
is

These defects can

By touching

block.

3.

the cloth

friction of the spring against

is

7.

By touching the

9.

5.

looseness of the

sudden blow against a

next hopper.

When

10.

too hard.

be remedied without any particular directions.

Noise in the Upper Hammers.

Looseness or unsoundness of the hinges.

I.

The

looseness of the check.

the next hammer.

When

11.

loose.

4.

2.

which touches the under-hammer.

in that part

easily

looseness of the spring.

of the hinge.

A
Produced by

hinge^ or to be reglued.

unpleasant Sound in the Hoppers.

A?!,

The

the causes; most likely accidental.

Eemove

(22 and 23.)

very carefully.

off

it

III.

Looseness or unsoundness of the head.

5.

Unsoundness of the shank.

7.

Looseness or unsoundness of the block.

6.

head against the damper socket.

against the hammer-rail near the hinge.

Looseness of the leather under the block.

8.

10.

Hardness of the leather under the

4. Eriction of the

Friction of loose glue

upper coat of the hammer being too hard.

2.

A hammer in

The

9.

the box action touching the wrest-plank

at the back, or the sound-board.

In upright pianofortes, the upper hammer

various causes

when

the shank

sionally stick

or

when

when

the

loose

is

when

the hole

when

the bed of the centre wire

is

caught between two wires, or when

How
The only
awl.
leather.

(10.)

is

no substance in the

The

part reduced, to free

damper

is

when

the butt

catches the

(9.)

hammer touching should be marked,

part of the

is

unsound

The hammers

occa-

confined in the notches,

damper in

its

return.

Prick the upper coat with a marking

leather to admit of this being done,

it

must be replaced by new

the action taken out, and the

it.

A
Happens

broken or guUed.

is

remedied.

causes requiring directions are the following

If there

it

when the head or shank

is

too tight in the hole, or

is

This occurs from

occasionally at the centre.

too large, or badly clothed

is

the centre wire

hammer

rattles

in various

ways

loose in the head.

3.

1.

Noise in the Dampers

When

When

damper wire

the damper wire

is

is

too close to the string.

2.

When

loose in the button, or detached

from

the
it.

APPENDIX
4.

When

the whole or chief part of the socket-holes are misplaced.

well lined, or the cloth too hard.

touches the top.

when

Or, in grands,

8.

When

6,

it

the socket-hole

Bend

(1.)

the bridge pins.

Both operations require the

greatest care.

(4.)

(2.)

upihe

for this purpose.

The socket must be detached and placed

may seem

Glue some

(6.)

best.

round

the last lever touches the frame-cheek.

the

the hinge and the edge of the

These defects are

7.

slip.

cloth is too hard.

damper
6.

its

1.

When

When

8.

two wires are of

When

new

one, or intro-

in a better position,

Paste, or very thin glue,

8.)

by

is

Screw the damper further

best
in.

the

wood

5.
is

the lever touches any hard substance.

the hinge

When

is

loose or unsound.

the leather,

unsound.

and require no particular

When the damper

8.

When

if

any,

there

is

4.

is

When

too hard.

glue betwixt

is

directions.

Damping

not sufficiently screwed down.

2.

When

the damper cloth does not bear equally on two strings.

cloth touches the next string.

When

hole.

3.

and bore a fresh

slip.

easily remedied,

likely to occur

and

When

When

3.

Defects in the

Are

old.

(7

it.

one lever touches another from being badly hinged.

wood touches

hole,

Noise in the Damper Levers

Frequently occurs from the following causes

the

the damper head

Prick the cloth with a marking awl, or unscrew the

(5.)

cloth or leather

When

Plug up the

button-hole, and bore a

damper, and line the socket-hole with new cloth, removing the

6.

When

remedied.

the wire does not hold properly, plug

planing or other means, as

When

7.

not

is

Perhaps the string may require to be removed from the damper wire, by bending

duce another damper wire.

3.

broken.

is

the socket-hole

the wire, or loosen the cloth from the socket-hole, on that side of the damper wire that

touches the string.

(3.)

When

5.

touches the iron arches.

How

one.

383

III.

5.

When

different thicknesses.

the pedal- wire

is

4.

the damper

Wlien the

two wires are not of the same height under the damper.

When the

7.

damper wire does not play in the socket-

too long, or other obstructions prevent the damper-action falling to

place.

The remedies suggest

themselves.

The
Occurs sometimes

1.

SticJcing

In the socket-hole.

pedal-wire does not act properly.

4.

When

of a Damper

2:

When

the lever does not descend.

the pedal-foot sticks.

3.

When

the

384

APPENDIX

How
Open

(1.)

it,

III.

remedied.

and rub the wire with

or unscrew the damper-wire,

The other remedies

leather.

require no directions.

The SticUng of a Hopper

Occurs sometimes
3.

When

1.

Against the under-hammer.

5.
7.

When

When

the spring

is

too strong.

any part of the hopper

Examine the

leather

When

6.

When

4.

the top of the hopper

When it

is

rough.

displaced to one side of the

is

the regulator touches the hole of the front

is loose.

How
(1.)

2.

the hopper-spring does not operate in the groove.

hammer.
block.

remedied.

and hopper- spring.

Black lead

(3.)

and rub with a hard

it,

The

stick.

other remedies suggest themselves.

The Sticking of a Damper Lever.

1.

Against another.

Against the key frame.

2.

Against any detached substance.

3.

The Sticking of a Hammer.

1.

Against the wrest-plank.

4. Against a damper- wire.

to

5.

Against the damper-socket.

2.

Against the sound-board.

6.

3.

Against the next

Trom any

hammer

head.

glutinous substance adhering

it.

How

When

(1.)

this is the case, pare off as

alter the position of the

hammer, or press

it

much

remedied.
leather

with a

warm

from the hammer as

iron.

The

it

may seem

to

require

other causes are easily remedied.

The Blocking of a Hammer.

1.

When

the hopper-spring

top of the hopper

loose.
far

5.

When

is

is

7.

When

turned too far

4.

the leather of the under

is

When

hammer

too high.

3.

When

the

any part of the hopper

6.

When

is

not firm.

the hopper
8.

is

is

too

When

the

in.

All the directions required are

its

the hopper-cheek

the hopper strikes but one side of the under-hammer.

How

from

When

2.

not smooth, particularly on the inner edge.

under the hammer.

regulating-button

too weak.

is

(1.)

remedied.

Bend

it,

to give it strength.

place to the side of the hopper, and bending

it

downward

This

in a curve

is

done by removing

then replace

it

it

and

APPENDIX
try its strength.

Place

(5.)

in

it

Eeduce

(2.)
its

it.

Black lead

(3.)

right position.

and rub the inner edge with a hard

it,

Unscrew

(6.)

385

III.

the

it till

hammer

falls

from the

string,

stick.

about a

quarter of an inch.

The Jarring of
Takes place from the following causes.
a string

not firm on the bridges.

is

string touches a wrest-pin.

7.

When

the barring

5.

loose.

is

any hard detached substance

When

11.

13.

When

When

is

the centre bridge

When

the instrument

a damper-cloth

is

is

loose.

too hard.
19.

The remedies suggest

When
its

occurs,

this

When

it

hammers

wire

while

it J

this is

cutting.

When

one strmg
12.

a covered string

9.

When

thinner than the other.

is

When

floor.

there

is

loose.

is

not suf6.cient side

15.

When

the

is

is

unsound.

18.

When

a wire touches the

touching the wrong Strings.

Prom

from the following causes.

strike in a

When, from

3.

wrong

Eehinge.

(3.)

the

hammer-head being too

large.

the action not being properly adjusted, the

place.

done by removing the

(2.)

a wire

themselves.

How
Cut

4.

When

a wire touches the name-board.

not being properly hinged.

majority of the

When

14.

When

17.

Hammers

(1.)

When

2.

When the sound-board is unglued.

6.

not firmly placed on the

is

10.

too close to the string.

is

is loose.

other.

not suflBciently damped by the cloth betwixt the sound-bridge and right block.

break of the treble string,

Prom

the damper-wire

on the sound-board.

a bridge-pin

vibration of the strings

2.

two or more strings touch each

a string is confined by the pins on the sound-bridge.

bearing.

16.

is

8.

When

3.

When

When

1.

Wires

the

remedied.

action,

or holding

The hammers

up

firmly the

hammer with

will generally require to

a loop of

be wedged to the

right from left-hand cheek of the hammer-rail.

Defects in the Wrest-pins.

1.

When

the wrest-pin starts or jumps.

proper use of the tuning-hammer.

4.

When

a wrest-pin

is

(3.)

2.

When

the wire

too close to the next string.

How
(1.)

When

is

5.

damp hand.

little

chalk

twisted too high or too low on the wrest-pin.

When

the wrest-pin

is

too small for the hole.

remedied.

Probably caused by an unseasoned wrest-plank

the pin with a

too close to another, thereby hindering the

filled in

or perhaps by the wire having been

the hole, will sometimes remedy this.

defects are easily removed.

c c

wound on
The other

386

APPENDIX

III.

Defects in the Pedal.

1.

When

being too long,

foot-pin

the pedal wire

it raises

too tight.

is

is

too short to raise the dampers to their proper height.

them too high.

5.

When

S.

When

the pedal foot

the pedal foot

is

is

HghL

too

too close to the floor.

6.

4.

When, by

2.

When

When

the pedal

a rattling

is

caused by the pedal foot being too loose.

The remedies suggest themselves.

IIow
1.

When

you obtain the

the front
2.

is

too shallow, place

requisite depth.

When

rail.

When

the touch

the touch

is

Touch.

to alter the

balance-rail, near the

brown paper under the

the alteration in touch

accomplished, reduce the hopper cheeks

is

too deep, place some paper under the front

deeper or shallower in touch than the

paper.

5.

4.

When

When

any key

thin piece of paper

is

rest,

one key

you must operate

higher than the

is

on the balance-pin under the

little

In grand pianofortes the touch

balance-rail, screwed

up and down,

is

will

new

on the

balance-rail, with sand-

reduce

When

9.

generally altered

as required

or

it

it

on the

balance-rail

by placing a

the hoppers are too short, raise

When

falls off

the hopper

is

them

too far from the

high, and the front

leathering wiU succeed.

by moveable blocks

by placing

or brackets under the

pieces of paper, or card,

under the blocks.

Leathering the Hammers.

result of this process is very uncertain.

use,

right.

is

on that particular part

When the hammer

7.

any part of a key

as directed above,

rest,

6.

When

too high.

under the further end of the key.

New

much

rail.

by turning the hopper-pin to the

of the key too low, plane off a

The

cloth.

3.

if

If the hopper

near the screws.

rail,

shallower in touch than the rest, raise

by putting another piece of cloth under the end

strings, rectify it

till

If the hoppers are too near the under hammers, plane the bottom of

cheeks should be found too low, glue some thicker leather on them.

of the key along.

screws,

When

When

the

hammers have become hard merely by

they are hardened by imbibing damp, the instrument

be found to have suffered irremediable injury from the same cause, and any attempt to restore the

tone by

new

leathering the hammers, will be unsuccessful.

which of these two causes may have

small blue specks

affected a pianoforte

upon the sounding-board

new

but by careful inspection

of the instrument,

the sounding-board be free from these marks, and the

probable that

It is rather a difficult matter to ascertain

hammers

we may

discover

which are sure indications of damp.

be deeply sulcated with the wires,

leathering will, in a considerable degree, restore the tone.

If
it

is

APPEN^DIX

ly.

A GLOSSAEY OE THE PEINCIPAL TERMS USED IN THE MANUFAOTUEE OF

THE PIANOEOETE.
,

Action

The key-frame, with

(The).

all its

apparatus of hammers, hoppersj keys, &c.

the machinery through which the impulse given by the finger of the performer

In other words,
is

transmitted to

It is this part of the pianoforte that taxes the ingenuity of various makers.

the string.

JEoLiAN Attachment.

An

addition to the pianoforte, the object of which

is

to sustain

and graduate

the tone, without the assistance of reeds, pipes, or any vibrating bodies, other than the string.

The

principle (an invention of

M.

Isoard,

an engineer and mechanician) consists in causing a

current of air to act on the string, which prolongs

seolian harp.

For

this

purpose there

of air passes from a bellows,

The bellows

are

moved by

Albion Grand Pianoforte.

It has

no

Bearing

(The).

is called

Belly

i. e.

The

and

vibration

somewhat on the principle of an

an opening opposite to each

string,

a valve, corresponding to the given note,

pedals, in the

The

metallic bracing,

striking principle

when

is

its

same manner

is

opened by the key.

as those of the seraphine or

peculiarity of this instrument is that

affords a

through which a stream

it

has a down-striking action.

good example of how much the introduction of the down-

would cheapen the instruments of

direction the strings take

this form. It

from pin to pin

was patented by

Womum in

the sounding-board of the pianoforte.

See Sounding-board.

The bridge on the sounding-board.

BiCHORD Pianoforte.

Any

1842.

that from the bridge to the long block

the side bearing.

'*o'

Belly-bridge.

harmonium,

instrument with two strings to each note.

c c c 2

388

APPENDIX

A name given to

BoTJDoiE Cottage Pianofoete.

IV,

those small instruments extending in width at the

back, the bass strings of which run obliquely, thereby increasing the richness of the bass.

BmjDOiE Grand Pianofoete.

Beass open covered Strings.

Brass Wire.

small horizontal grand piano, generally with two strings to each note.

Pirst introduced for the bass notes of square

Pormerly used (and

by the French)

still

for the higher portion

and other pianofortes.

of the bass notes

by

some makers, throughout the instrument.

There are two bridges

Bridges.

the different makers.

before the latter

screwed to
of

Button.

fixed

is

Some

it.

wood near

on the

when

A form

The name

glued and pinned, and sometimes

have a third bridge

in

wood, moving upon a screw wire

of upright instrument, invented

that

is,

a slip

grand and double-action instruments.

reiteration of the

for regulating purposes.

and patented by Wilham Southwell, in

stiU remains; but the invention has long since

It

is

been superseded and laid aside.

a small projection fixed at the back

hammer, by catching and

firmly holding

freed from the string.

These

The

covered with copper.

with thick copper wire.

whereas, formerly,

it

was open,

The

mechanism

them

The wrapping too

Sqtjakje Pianoforte.

hence the name.

strings, lately introduced in

largest of

expressly for the purpose, by

inverted

is.

pianofortes, not having the metallic plate,

Close-covered Strings.

Compact

That on the long block

case.

end of the key, serving to prevent the

it

to the scale of

glued and screwed to the sounding-board, with wooden nuts underneath,

circular piece of leather or

Only used

Check.

is

on the sounding-board varies in form, according

the hitch-pin.

Cabinet Piano;foete.
1807.

It

that

action

like the

are

Kke

is

The

Mills, near

best pianoforte wire is made,

Birmingham.

instrument six or eight inches shorter than the ordinary square

" dovra-striking," and exceedingly simple.

into square pianofortes

was by Greiner, who exhibited

that of the fourth string of the violin

of a corkscrew.

Mr. Webster, of Penu's

An

it

steel,

now, for the extreme low notes, double lapped

is close,

worm

England, for the entire bass are of

in 1851.

some ten or twelve years ago.

Stodart introduced the

The present invention

APPENDIX
Compensation Grand Pianoforte.

This instrument has a frame-work of metal tubes, extending from

end to end, to withstand the tension of the

strings,

sounding-board and curve the frame-work upward.

was an appliance to prevent the tendency referred

Console Pianopoete.

389.

IV.

small upright instrument, a

which have always a tendency

This invention, patented by Stodart in 1820,

to.

little

more than three feet high; the top projecting

only a few inches above the box enclosing the key-frame.

and

is

very effective for

of the instrument

whereas, in ordinary uprights,

On

the strings alone.

instrument.

Copper "Wire.

It

is

It has the appearance of a cheffonier,

made

it is

to extend over the

M.

name

original

A silencing agent to

is

are lifted off

damper

other makers, for a few notes in the bass.

of the short upright pianoforte.

stop the vibration of the strings

by the back end of the key when the front end

originally consisted

strings.

But

little

when the

fingers

are lifted

is

pressed down.

when

from the

at rest,

The grand

of a simple rod, headed with cloth, and rising vertically between the

alteration has

been made in

this,

except that, as the strings wefe

required to be increased, and the damping surface of cloth extended.

by

Damper-crank.
by a

made

different makers,

hinged or centred

heavier,
strings

The damper movement

is

sometimes above the strings, sometimes beneath them.

lever,

raised

by the key, and connected with the damper-head

fine wire.

Damper-slip.

The

Damper-stick.

made

but

pianoforte

and the vibration became stronger, the force with which the damper was held against the

variously disposed

by

remarkable for so small an

It consists of several folds of soft cloth, which press against the strings

keys.

vertical area

Pape, of Paris.

At one time used by Broadwood, and some

The

whole

of necessity hmited to the area occupied

this account, the tone of the console piano

the invention of

is

Cottage Pianoforte.

Damper,

The sound-board

its size.

to depress the

slip to

stick

which the damper

running through a

of wood, latterly of wire ;

DouBLK-GRAND PiANOFORTE.
rectangular case

^the

An

is

hinged.

rack-rail, simply raised

also connected or

by the end of the key ; formerly

unconnected with the damper-lever.

instrument consisting of two grands, enclosed in one large oblong

players sitting at the two opposite ends, facing each other.

One

string-plate

APPENDIX

390

the short strings of one coming in a line with the long strings of the

serves for botli instruments,

other. Invented

Escapement.

IV.

by Mr, Pirsson, of

New York, and shown

in the Great Industrial Exhibition of

That part of the hopper which, moving on a hinge or centre,

power by a

is

pressed to

hammer

adjusted to cause the

to leave the string at the instant of impact.

who

part of the action that makers,

EuPHONicoN PiANOFOUTE.

An

seven octaves, and

claim invention,

'so

widely

raising

its

and by means of the regulating screw (acting upon a bevelled point)

spring,

1851.

nicely

is

It is in this particular

differ.

Upright pianoforte invented by J. Steward, Esq. in 1841.

The com-

frame, wholly of iron, highly japanned, beautifully ornamented with

pass

is

pearl

and gold pencilling on black, blue, or crimson grounds, and embellished with exquisitely

its

The

chased ormoulu designs, produces an extremely light and elegant appearance.

of the instrument

is

much

To

higher than the right.

It has three sounding-boards

viohn, tenor, and violoncello.

Geand PiAUoroRTE.

Grand

The

It is not

now under

thus combining the appearance

and

treble, tenor,

bass,

common

Similar to the

inches wider, from back to front, than the

striking lever,

formerly of buff leather;

purpose, which gives a

square,

but having the sounding-board the

mdving upon a

now

much

it

is

common

square.

centre.

The covering

made

of a fine kind

superior quality of tone, and

HaiUmee-btjtt. The part of the hammer-lever which

Hammee-eail.

rail

to the

manufacture.

whole length of the instrument, and the action the same as the grand.

The

corresponding

largest sized horizontal instrument, with three strings to each note.

Sqtjaeb Pianopoete.

Hammee.

portion

the upper part of the former are attached

the three lower octaves of the strings, which are exposed to view
of harp and piano.

left

is

centred,

is

of

Generally

of the face of the

felt,

prepared

much more

made

hammer was

expressly

regular in

its

a few

for

the

structure.

and the point upon which the hopper

acts.

extending from end to end of the action, into which the butts of the hammer-

lever are centred or hinged.

Haemonic Bae.

metallic bar firmly attached to the edge of the wrest-plank,

treble strings pass, in lieu of over the solid pin-bridge.

of downwards

(as formerly), is attained, giving a

By

this

more fijm and

through which the

means a bearing 'wpwards, instead

clear tone to the

grand pianoforte.

APPENDIX
The pin

Hitch-pin.

Hitch-pin Block.

Hopper.

The block

in which the hitch-pin

inserted, at the

opposite end or side to the

string.

the key and hammer, with an escapement to let the

It is well explained

the back end of the key, and used to

When

former mechanism.

under side of the hammer,

by Mr. Pole
lift

"

was a jointed upright

It

the hammer, in place of the

stiff

hammer

lifted it to

wire and button of the

within a very short distance of the string

it

to strike

on the

so near, in fact,

but at this moment, while the key was

pressed down, the jointed part of the hopper coming in contact with a fixed button as

escaped from, or 'hopped' out

This mechanism, as apphed with

action,'

and

centred

trifling variation to

delicately adjusted

acting

upon the damper

hammer

lever,

fall

clear

it

away from the

the square pianoforte, was called the

and the upright form

extensively in use for this

is

HopPEE-LEATER.

the notch, and let the

of,

fall

piece, attached to

the key was pressed down, the hopper, engaging in a notch

that almost the slightest pressure would cause

still

is

hitched.

is

generally covered with a metal plate.

medium between

spring

from the

in which the eye or noose of the string

now

wrest-plank,

391

IV.

'

rose,

string.

double

at the present day."

with double centres, upon which the hopper action

action by reverse motion.

It

is

is

used in Erard's action.

Hopper-spring.

Jeu celeste,

many

Key

fine brass spring to

soft pedal, interposing cloth

its

bearing.

between the hammers and the

strings.

It

is

used in

of the Prench pianos, in addition to the ordinary soft and loud pedals.

The

(Clavier).

Key-erame.

lever

upon which the

The frame upon which

of three rails

frame

is

motion to

all

is

to

move

by means of the

to the right or left

left pedal.

The

(hned with green baize) to

In many transposing pianos,

by some simple mechanism.

posing PlANOEORTE.

Kit-grand Pianoforte,

of wainscot, formed

In grands, and usually in Broadwood's upright instruments,

to slide to the right

made

other parts of the action.

made always

the front and centre to receive the key-pins, the back

made

the key-frame

finger acts, giving

the keys act (moveable in grands),

receive the balanced end of the key.

this

keep the hopper to

smallest size of grand-shaped instruments.

See Trans-

392

APPENDIX

An

Lyea Pianoforte.

instrument of

tlie

towards the centre of the room, and

object being to throw the

IV.

upright shape, the back of which

is

formed

sound outwards.

like a Ijre,

is

intended to be turned

with openings covered with

The piano stands on a

silk

the

raised platform or sound-

conductor, into which the bass strings descend, and which also elevates the stool for the player.
It has three pedals, the additional one being a soft one on the French principle, viz. introducing

a thickness of soft cloth between the

hammer and

the string.

Invented by Messrs.

Hund

and

Son, and exhibited in 1851.

An

MiCEOCHOKDON PiANoroETE.

Upright instrument, in size between the piccolo and cottage.

Oblique Cottage PiANOfonTB.

small upright instrument, having the

thereby obtaining greater length and power of vibration.

strings

placed obliquely,

These pianos are generally wider than

ordinary piccolos, and usually with three strings through the upper part

of the compass.

very superior and powerful description of small-class piano.

Pedaliee, (The).

kind of armoire, placed upright against the wall, and played by means of a

pedal-board under the

feet of the

performer.

The instrument has

and peculiar mechanism, and

is

Its height allows its strings to

be unusually long and thick

totally

own

its

independent of the pianoforte, which

;

strings,
is

hammer,

placed before

it.

while the dimensions of the sounding-

board, proportionably large for a pedal-board of two octaves and a half, imparts a peculiar richness

and power

to its tones.

finer strings,

The gravity

which produce

at the

of the thick strings is modified

same time the octave next above.

desirable for playing a pedal obbligato, is the recent invention of

by

their being united with

This valuable instrument, so

M. Auguste

Wolff, of the

house of Pleyel and Co. Paris.

Pedals

The

(The).

forte pedal, usually

dampers from the

raises the

hammer

damper frame.

to strike

Piccolo Action.

By

strings.

on the

right side

touching the pedal-foot, a wire or stick,

The piano pedal moves the

on one of two, or on two of three

The double

or

of the instrument,

'

is
is

used to

lift

set in motion,

off

the

which

entire action along the strings, causing the

strings.
"&"

piccolo action' was the invention of

Mr. Wornum.

It is

now

universally used on the Continent for upright pianofortes.

Piccolo Pianofoete.

and 2

feet

very small upright instrument, generally 3 feet 9 inches high, 4 feet wide

2 inches deep.

APPENDIX
There are

Pins.

on which the

PiN-BKiDGES.

: the

six sorts of pins

strings are

hooked

mest-T^ms, or tuning-pins

the ^ey-pins

Either 'single or double:

sichord, has a reversed bearing.

393

IV.

the hopjier-Tpms

the 6ndffe--pias

and the joe^^a^-pins,

the MtcA-^ins,

the latter, generally used in the grand pianoforte and harp-

These bridges serve to give the sounding length of the

one placed near where the string

is

struck, on the edge of the wrest-plank solid

strings-

the other on the

most sonorous point of the sound-board.

Pitch.

The acuteness or

sound

less acute

gravity of any particular sound, or of the tuning of any instrument.

than some other sound,

is

said

to

be of lower

piM

Any

than that other sound, and

vice versa.

Pocket Grand Pianofoktb.

small semi-grand instrument, generally with two strings to each note.

A rail of wood

Eail and Socket.

covered with cloth, extending from end to end of the action, under,

the hammers, midway, as a fixed point of rest to which the hopper

Eegulating Sceew.

is

regulated.

Yariously used to adjust the point of escapement of the

hammer

in the hopper

movement.

Eepetition Action.

must

" In the ordinary action," says Mr. Pole, "

rise to its position of rest before

after the

hammer has

fallen,

the key

the hopper will engage again in the notch of the hammer,

so as to be ready for another stroke; and hence a note cannot be repeated without not only

requiring the finger to be lifted through the entire height of the key's motion, but also demanding
a length of time between the repetitions, sufficient to allow of

by which

hammer
engage

at a

itself

contrivances

has been overcome, are of various kinds, according to the fancy or

this inconvenience

the ingenuity of the makers

The

its full rise.

but they

all

certain height while the

under the hopper

earlier,

act

on the same principle,^-namely, by holding up the

key returns

by which means the hammer

and to reproduce the note in

less time,

is

and with

allowed to
less labour

to the finger, than before."

KoYAL Albeet Transposing Pianoforte.

The invention

of Messrs.

upright," capable of transposing music upwards or downwards.

Addison and Co.

Por instance,

if

" Piccolo

a song be played

D D D

APPENDIX

394
on the keys
or

i.

e.

as if in C, it can be

to sound either in the key of

made

sharp,

D,

flat,

B,

flat,

in any key within a range of three semitones above or below the original one.

a rail lined

Rtjlee.

IV.

with cloth, used in the old actions, as also in harpsichords,* spinets, &c, to prevent

the jacks and dampers from jerking out.

The

Scale (The).

maker has

distance between each wire

in fact, the general plan of the instrument.

Formerly the wires were much thinner than they are

his particular scale.

consequently the distance from one bridge to the other was greater

at present

measure,

for the longer the

Each

the thinner the wire must be, and vice versa.

Semi-cottage Pianoforte.

Sbmi-geand Pianoeoetb.

somewhat shorter instrument than the ordinary Cottage Piano.

The next

size

smaller to

the grand instrument, and with a somewhat

different action.

Sostinente.

The

attached- to the strings

came

forth

somewhat

SoUNDiNG-BOAED.

and

application of a cylinder

and the

silk loops to

cylinder, which, being

like the tones of a seraphine.

Often Called the " belly."

distended, and which, by

its vibrations,

analogous to the belly of the

violin,

It

is

that

an upright pianoforte.

moved by the

It

foot,

The loops were

bowed them

the tones

was the invention of Mr. Mott.

smooth thin board over which the

strings are

greatly contributes to the tone of the instrument.

and

is

composed of the best Swiss pine, perfectly

free

It is

from

knots orimperfections, cut in a particular direction of the grain, and thoroughly seasoned.

Squahe Pianoforte.
even in

its

The shape

first

pianoforte introduced into this country.

Its inferiority,

present improved state, to the grand instrument, consists in the comparative weakness

of its tones, consequent

instrument being so

now made

of the

.to its

much

having only two, instead of three

smaller than that of the latter.

sets of strings,

and the body of the

Very few instruments of

this

shape are

in this country.

SquAEE Semi-geand PiAifOEOKTE.

This instrument, invented by the Messrs. CoUard, has precisely

the same action as that used for semi-grands

whereas the ordinary grand-square has only an

adaptation of the peculiarities of the grand action to that of the square.

APPENDIX
Used

Steel Aeohes.

Steel Wiee.

Sticker.

in old grand pianos to counteract the tension.

Used

Steel Spun-wiee.

395

IV.

for the lapped strings of the lower part of the pianoforte.

Used, of various thicknesses, for the upper four and a half octaves of the pianoforte.

medium

of communication between the under-ha.mmei and the butt of the

hammer ; used

in the action of the upright pianofortes.

A metal plate,

String-plate.

hitch-pin's tendency to

Strings.

Of

partially extending over the hitch-pin block, to obviate the fault of the

draw

out.

It

was

first

introduced by the Messrs. Broadwood.

various metals, substance, and manufacture.

See Steel

Wire, Brass Wire, Copper

Wire, Brass open ooverbd Strings, Close covered Strings.

Stud.

A metallic

application to grand

and other superior pianofortes, screwed into the wrest-plank

to

obtain an upward bearing of the string, instead of a downward, one over the pin-bridge, by which
clearness of tone

Table Piano.
end being

An
lifted

attained.

instrument having the size and appearance of an ordinary drawing-room table ; one
up, the keys slide out in a sort of drawer, and the table

The

a pianoforte.

the keys

is

action

is

down-striking, and the

whole instrument.

Tension.

It

Tempeeament.
intervals.

is

obtained.

was invented by M. Pape, of

a small groove in the

The

converted at once into

are directly under the front end of

the strings are brought up to the front, and cross each other in two different planes, by

which the necessary length for the lower notes

Tennant.

hammers

is

The sounding-board extends over the

Paris.

middle of the key, into which the hopper

is

inserted.

force employed in stretching a string to the required degree.

a small,
In

its

and to the ear almost imperceptible, deviation from the absolute purity

more limited

by which a minute quantity

the intervals which

is

sense,

it

of

denotes that arrangement of a system of musical sounds

abstracted from the original puritj or magnitude of

may be formed by them.

D D D 2

some or most of

396

APPENDIX

Teansposing Pianofoete.
compasses.

The

object of this instrument

The key-board and

make one hammer

IV.

to transpose music to suit voices of different

is

and framing, are

action, or the strings

shifted laterally,

See

strike different strings, according to its position.

so as to

Eoyal Albbkt Trans-

posing Piano.

Tkansteksb Bae.

Tuning Foek.

Part of the bracing so called.

about three inches long, consisting of two

steel utensil,

prongs and a handle,

and which, being struck against a table or any other substance, produces the tone to which
was originally

set.

There are various tones or pitches

but the

itself

and .0 forks are most generally

used.

Tuning Hammek.
and formed

like a

steel or iron utensil

common hammer.

used by pianoforte tuners.

With

the head of the

ends of the wires are twisted are driven into the sockets

hammer

It is about four inches long,

the

pegs round which the

and the bottom of the handle

with a square or oblong hole, in a longitudinal direction, which, being of a size to

the pegs, enables the

TJnachoed.

Any

Under-hammee.

hand to turn them, and thereby to relax or extend the

fit

is

furnished

the tops of

wires.

instrument with one string to each note.

a hinged lever,

similar to the

damper

lever,

to

which the hopper

is

adjusted

used

in upright pianofortes.

Undee-hammee

Slip.

The

slip to

Utilitaeian BouDoiE Piano.

are shorter

The

and project

which the under-hammer

is

hinged.

A small piccolo upright instrument, with one string to each note.

less,

by which the legs or

scrolls usually

put under the key-frame are saved.

action consists of a simple projection at the end of the key, which

directly,

without the intervention of any hopper.

with which the pianoforte was

to adapt

WttEST-PiN.

it

first

made

It

is,

The keys

lifts

the

tail

of the

hammer

in short, a return to the old single action,

the only difference being the variation in form necessary

to the upright instrument.

Iron pins upon which the strings are strained.

They

are not screws, but have sufficient

APPENDIX

397

IV.

tendency to draw themselves in tightly, when turned to the right.

They protrude about an inch

from the wrest-plank, having an oblong or square upper end, by which they are turned.

Wrest-plank.

Usually formed of two or more kinds of wood, joined together in the

grains running in opposite directions

kind of pianoforte.
the keys

are stretched to their necessary tension.

In the grand,

it is

It receives the wrest-pins,

Its situation differs according to the

placed in the front of the instrument, immediately above

in the wprigM, at the top of the instrument, above the action

at the right end) latterly at the back,

with the

the upper one of wainscot oak endwise, to resist the great

tension of the strings, usually veneered with holly or other white wood.

on which the wires

flat,

behind the keys.

in the squa/rej (originally

ADDITIONAL NOTES AND ILLUSTRATIONS.

In summing up our information upon the musical acquirements of those extraordinary people, the ancient

Page 15,

we

Egyptians,

extract the following passage from Sir J. Gardner "Wilkinson's recent volume on

1857. "Their bands were

time of the Pharoahs, 8vo.

tambourine

of a harp, a guitar,

and the clapping of hands

of

of our military bands; besides

instruments, required
of strings,

was a hollow case

necif, as in

word nofr, good."

of

was

wood with

of less

right arm,. and even

;

The

by a

power than

of

two harps, a

may

correspond to the crescent-crowned bells

discover, rather than to invent, these simple

of obtaining various notes

from a small number

music

at

a very remote time,

is

for,

though not represented in a band of

found among the hieroglyphics upwards of 600 years before that period as

had a long neck, about twice the length

guitar

as the cithara of Greece

Women

their lyre.

to its

name

the

and

three-stringed guitar, therefore, proves

The

it,

of its oval body,

which

having small holes to allow the sound

was smaller than the other Greek

generally played

it

men

It

rarely.

last

to escape-

lyres, the guitar of

was supported on the

strap over the shoulder, like the Spanish guitar; while the strings were shortened

Catgut

line 18.

the

and

harp and two guitars, with a double pipe,

of

To

means

leather or parchment strained over

and the performer occasionally danced

Page 28,
sheep.

pipe,

our modern guitar and violin, considerable experience was required

of

it is

The

'

was played with the plectrum; and

hand

combinations.

had acquired a knowlege

the initial of the

the Egyptians

but, before they could devise the

than the eighteenth dynasty,

earlier

flutes

have resulted from an attentive study of musical sounds.

that the Egyptians

It

many other

little sliill

The Egyptians in

and guitar, a double

lyre of seventeen chords, with voices

and a double pipe or of two

two harps, and a jingling instrument which

by shortening them on a

this could only

music

and a

of a fourteen-stringed harp, a double pipe,

and voices

flute,

often composed of a harp, lyre,

by the

left

sound."

made from

applied to strings

the peritoneal covering of the intestines of

greatest care is necessary in preparing these strings for musical instruments, to secure the strength necessary

leanness, afibrd the best

raw material ;

The

high notes.

for the great tension required for the

it is

best strings are

made

at Naples, because the sheep,

from

their

a well-ascertained fact that the membranes of lean animals are much tougher

than those of animals in high condition.

Page 33,

1791.

The "

Page 34,
the

to

ei

Sommerard, in

line 15.

We are

of music.

Musicd Sacra,

also plate 26, of the

Page 48,

his

Album of

not quite clear upon the point that the monochord of the middle ages

Since writing the passage in the text,

silver.

plate 34, the figure of a

line 22.

Gold and

silver

Silk' strings

man

the threads through heated

which the performer

we have

was not used

in

noticed in the second volume of Gerbert's

evidently playing upon an instrument of this description.

compounded and rendered

;

called tubby.

elastic

those of brass

were made of the single threads of the

form a chord of the required thickness

by passing

till

See

same work.

gold string or wire will sound stronger than a silver one

and

Archceology, engraves a Clavichorde with " cordes de laiion,''

one of the dames d' honneur of Catherine de Medicis, and was preserved in the Hotel Richelieu

strings of brass " strongly favour our theory.

performance

De Cantu

Du

line 1.

which belonged

silk

would undoubtedly produce beautiful tones.

and

steel give feebler

worm, a

sufficient

number

these were smeared over with the white of eggs, which

oil.

The

string

was exceedingly uniform in

its

sounds than those of gold

of

them being taken

to

was rendered consistent

thickness, but produced a tone

ADDITIONAL NOTES AND ILLUSTRATIONS.

when Josephus speaks

It seems probable that

of a composition between gold

Page 48,
"

Street,

still

who

have their original sweetness.

the following relative inscriptions

1565 " (who was the son

(who was the wife

and princely house

of Francis de Medicis).

1858

De

Dukes

Medicis,

five octaves

of Florence,

and a

half,

No.

6,

and

is

and the keys

of the keys are three authentic portraits chiselled in gold, surrounded

" Francis Medices Florent Senaraum

Henry IV and Catherine de Medicis)

of

of

There are

flourished in the sixteenth century.

In front

8,

seen, for a few days, at

historical

It has belonged to the old

the great work of Marco Sadre,

made

to the strings or wires.

^The following advertisement appeared in The Times newspaper, July

Cueiositt. A magnificent and
Harpsichord may be

Haymarket.

being "

of the musical instruments belonging to the Temple as

he alluded

silver,"

line 11.

A Musical

Arundel

and

399

Besides, there

is

and the

name

the

the other " Carolus Galliorum

last,

Eex

with

Cristianis,

" Joanna Princ, Florent, Senar, Arcid "

and the year (1565) in

of the great manufacturer,

which he made this work."

Upon

inspecting this " musical curiosity,"

perfect state of preservation

name

is

its

compass, from

Marco Jadrae (not Sadre

making considerable research

proved

it

be a very small virginal, of sweet tone, and in the most

to

below the bass

staff to

in

as printed in the Times), concerning

some

for

particulars of this early

alt,

four octaves

whom

maker without

and one

note.

The maker's

nothing seems to be known.

we

success,

wrote

to

After

Count Pepoli upon

the subject, and were favoured with the following answer

" I believe that

dai Cembali, or

This

Jadrae,' id est,

dalle Spinette

And

instead of Zara.

D'Arpino, &c.

Opus Marci

'

Marco

is

was the

it

my

opinion

'

Opera

Marco

di

Jadra,' or di Jadra, is the

and that Jadra or Jadera was the name (being the

fashion to call the artistes after the

but

'

valeat

quantum

names

name

of their towns

The

price put

upon

A small virginal of

it

by the

advertiser

German make,

A above the treble staff,

Page 67,

line

monk

Museum

compass was

its

facultie in profession is

Munday's View of Sundry Examples, 1580,

Page 58,

(vol

i,

painter, of

p. 369), gives a

Page 64,

Queen Elizabeth's

line 19.

Dudley

froni G. the lowest note of the bass staff,

a maker of Virginalls, going

Among

the

to

some use in

[Shakespeare Society's reprint,

4to.

virginal

was purchased

at

his

to the brick kilns, at the

handy

craft," &c.

Anthony

p. 93.)

Lord Spencer Chichester's

sale at Fisherwick,

Shaw, in his History of Staffordshire,

in Worcestershire.

minute description

line 10.

of the Cornaro

was 500

upper end of Golding Lane, to seek Ravens feathers, which he putteth

Mr. Jonah Child, a

Coreggio, Bassano,

three octaves and one note.

" A man whose

16

bearing date 1600 (called a spinet in the description), was lately exhibited in

the Art Department of the South Kensington

to

Marco

used very often

valere potest."

This interesting instrument was purchased in Rome, by the present possessor, from an old
family.

of the artist

latter one)

article

by

Fisherwick

of the instrument.

Howard

papers.

Lady Arabella

Stuart, writing to the Earl of

Shrewsbury from

June 17, 1609, says : " But now from doctrine to miracles I assure you within these few dayes I saw a
not move, a
paire of virginalles make good musick without help of any hand, but of one that did nothing but warme,
And if I thought these great folkes invisibly and farre off worke in matters to
glass some five or six foote from them.
Broad

Street,

tune them as they please, I pray your Lordship forgive

recommend your
affords

Lordship,'' &c.

an early example of

Pace 65,

The

line 2.

How

scientific

was

ex

" 1660.

Janua. 5.

Septem.

2.

this virginal

knowledge.

We

and I hope God

made

will, to

whose holy protection I humbly

to play without the

" help of hand "

The passage

have in vain searched for a more minute account of this wonder.

following extracts from the Obituary of

in 1848), relate to a virginal-maker whose

" 1665.

me

name had escaped our

Richard Smyth

(printed

by the Camden Society

notice;

Thb. White, virginal maker in Old Jury, buried."

Mary White, ye

relict of

Thorn. White, virginall maker, ray late tennant in Old Jury, buried,

peste.''

Page 65,

now

note.

The

interesting virginal mentioned in the note as being in the possession of T. Mackinlay, Esq. is

the property of the author of the present volume.

It

was made in

the year 1666,

by

Adam

Leversidge, and

is

in

ADDITIONAL NOTES AND ILLUSTRATIONS.

400
an excellent

The

state of preservation.

painting, embossing,

and

gilding, are all as fresh as if they

had recently come

from the hands of the manufacturer.

Page 69,

saw one by

Baker Harris was an eminent maker of

line 8.

maker

this

at a broker's shop in Great St.

We

spinets in the latter half of the eighteenth century.

Andrew's

Seven Dials, in April 1858.

Street,

It

had white

and was dated 1776.

keys,

Page 77,

line

A book very little

2.9,

known and

imperfectly described

by Forkel and Lichtenthal,

in their Musica^

upon

Bibliographies, contains some singular descriptions of musical instruments constructed in the seventeenth century,
principles which, after having been lost
is entitled

and

forgotten, were brought forward again as

Dichiaratone della Galena Armonica eretfa in

Tiahitatione,

posta

area della Ciambella, printed

all

at

Boma da

have been aware of

and curious

contents

its real

eighteen years to complete

pieces of

for they cite it

it is

Francesco Tizzoni, 1676, ninety-two pages,

title

of

La

2mo.

Galeria Armonica, and do not appear to

merely as a description of an ingenious organ which had cost Todini

not only a description of the organ, but of several other musical instruments

mechanism, which Todini had constructed and placed in those apartments of his dwelling-house

which he gave the designation

of clocks

whereas

This book

at a later period.

Michele Todini, Piimonfese di Saluzzo, nella sua

Rome by

rorkel and Lichtenthal mention this book only by the abridged

new

of

an Harmonic Gallery.

In the

first

in the second, a mechanical representation of the story of

to

room were some curious and complicated specimens

Polypheme and Galatea,

which

in

tritons

and sea

gods played several tunes on a harpsichord, and Polypheme himself performed on a kind of bagpipe, the sounds of which

were produced by a key-board under that

It wa-i in the third

were deposited

them were two

whole tone, a

and

of the harpsichord.

chamber that the most curious of Todini's inventions in the construction of musical instruments

these, considering the period at

third, or

even a

fifth

Amongst

which they were manufactured, are really astonishing.

one of which could, by an ingenious mechanical contrivance, be at once heightened a

violins, the pitch of

;

the other, under the usual strings, had a second set of strings, like those of a kit,

tuned in the octave above, and was so contrived that the violin and kit might either be played separately or both together,
at the pleasure of the performer.

In the twenty-third chapter of

neck,

all

could be played upon

that

viola basiarda), the tenor, and bass viol,

Todini had originally given the bass of this instrument an unusual depth

it.

when he invented

concerts,

this tract is a description of a viol-di-gamba, so contrived that, without shifting the

the four kinds of violins, namely, the treble violin, the contralto (or

the double bass, which instrument he was the

first

to introduce

but he abandoned

and play upon in

oratorios,

and serenades.

Todini also invented and manufactured two harpsichords

on one of which, by an ingenious contrivance, the three

genera of the ancients, the diatonic, chromatic, and enharmonic, could be played without any multiplied or inconvenient
''^

division of the keys.

In

this third

struction of

room

of the gallery

was

many years'
new inventions.

grand organ, which had cost so

also his

which were many contrivances that have since been revived and

called

labour,

and in the con-

This organ contained

seven instruments of different kinds, any number of which might be played on separately or united, at the pleasure of
the performer.

The organ had numerous

of the player taking his

hands

stops,

off the keys.

which could be adjusted, combined, or separated, without the necessity

There were an harpsichord, an octave spinet, a small theorbo, a

a kind of bass violin with fifteen strings, then in use, and called the lyra or accordo.

by whieh

made

the effect of the

bow on

these instruments

to produce this effect, a detailed account of

in Todini's, instrument

is,

that the

was

perfectly produced.

which has been given in our

same key-board served

and that they might not only

for the

It is well

known how many

earlier pages

organ with

violin,

and

Todini had invented a mechanism

all its

but what

is

attempts were

worthy of notice

stops, the harpsichord,

spinet

be played, as above mentioned, either separately or united at

pleasure, but without the performer being at any time obliged to lift his hands from the keys.
theorbo, and violins

Todini wrote his book

selves,

even

if

when

all

all

these inventions of his were completed, and invites all musicians to satisfy

by ocular inspection and examination,

of their advantages.

Lichtenthal had not expressly said that the organ was

still

There can be no doubt, therefore,

in existence, at

Rome,

in his time.

them-

of their realitv

"

ADDITIONAL NOTES AND ILLUSTRATIONS.

Page 84,

The

line 12.

made

earliest harpsichord

Department of the South Kensington Museum.

401

England which we have seen was

in

mere

It consisted of a

lately exhibited in the

Art

the inside being entirely gone, with the

shell,

inscription on the name-board, " Johannes Asard, 1622."

Page 91. To the note on this page add the following

" The Harpsichord, an instrument of power and compass,

ment

in itself,

is

now

and generally now taught in the most ignorant and

theorbo and lute, the noblest because the most expressive and pathetic of

What is

the reason of this

Page 93,

the

is

manner,

guitar, a trifling instru-

adopted in

is

vol.

ii,

p.

Page 147,

names

the

English makers of the middle of the eighteenth century which

to the

of

In the Quarterly Musical Register, edited by A. E.

line 17-

two numbers were published). No.

Music

1,

while the

77, edit. 1758.

"Mr. Mahoon, Harpsichord-maker to His Majesty," and "Mr.

maker," both of which appear among the subscribers to Travers's Canzonets.
noticed,

plaoe

its

accompaniments, are altogether laid aside.

all

a plaything for a child, the harpsichord and lute require application."

Manners and Principles of the Times,

In addition

line 32,

we may add

Because the guitar

Dr. Brown's Estimate of

The

going out of use.

trifling

January

1,

1812,

is

an interesting

which we extract what

in Great Britain, since the year 1789," from

C.

article,

KoUman

(of

we have

Harpsichord-

Sells,

which we believe only

giving a "Retrospect of the state of

relates to the various inventions

which have

been introduced in the pianoforte

"

Additional Keys, above the former high F, three

1.

former low F, four lines under the bass stave.

compass of the

scale is

In regard

and a space over the

lines

to these, it is certain that,

an improvement in an instrument, the modern rage

carry the art of invention too far in that respect.

For no great composer

for

remain the

tone, with a

first

mechanism

To

consideration.

must be added,

pianofortes

"

ments of the
"

five octaves,

from

to

and

an expressive performance, always

to

will

It

size.

as

weU

as the instruments themselves

might therefore be wished that the compass of

octaves.

different sorts of double actions.

These have been universally considered as

real

improve-

pianoforte.

Varieties of dampers.

3.

a room of moderate

for

would not be enlarged beyond six

Hammers with

2.

and too large

to

that too great an extension of the scale of keyed instruments

renders their construction precarious in regard to an equality of tone throughout

too unwieldy for a removal,

and below the

keyed instruments, or great performer on

that admits of a highly finished, as well as

this

keys without end seems

for additional

them, has reason to complain of their limited compass, even when they contained but

them a good

treble stave

though any rational extension of the

which take away the sound

In regard

perfectly

to these,

every good player knows

how much

and promptly without occasioning a noise or jarring.

there depends on dampers

Every improvement of

this

kind, therefore, ought also to be cc.sidered as very useful and desirable.

"

4.

Square pianofortes, with the sound-board extending over the whole instrument, have been made for some years

by Messrs. Broadwood
where

particularly

it is

made them

discover a

and they seemed

to

depend on the principle of giving a firmness

wanted ; but their unremitted attention

method by which that support

to

to the

instrument at the top,

the improvements of those instruments seems to have

at the top can be dispensed with, for

which reason they have discon-

tinued making them in the above manner.

" ,5.

Other sorts of square pianofortes, apparently on a similar principle to the above, have also been made by other

manufacturers

one of which were those with a slender wooden

that in front of the harp.

But

it

"

beam

at the top along the lowest bass string, similar to

This invention greatly improved the firmness of the instrument, without injuring

its

tone.

has not been generally adopted.

A variation of

strings, as well as

the

same

principle

seemed

be Mr. Hawkins's pianoforte, with a metal

to

with a metal supporter along the midst of them

frame

all

which, however, appeared as being too

around the
stiff for

the

necessary vibration, and as spoiling the tone.

" And,

as another variation of the principle,

firm and closed up in front, as behind

we

and the keys

consider the square pianoforte by

to be pulled out, in a

manner

as at

Mr.

Scott,

which were equally

some organs.

This construction

ADDITIONAL NOTES AND ILLUSTRATIONS.

402
seemed

to

be very natural, and not disadvantageous

to the

sound of the instrument; but the required sliding of the keys

And we

apparently rendered the mechanism of the action less certain th<in otherwise.

instrument
"

6.

A few years

Mr. Riley,

ago, a

brought out a patent pianoforte, constructed so that the whole set of

of Hull,

keys could be shifted towards the right or

was very

are not sure whether this kind of

manufactured.

is still

left,

the accommodation of singers, though

useful for

same keys

in order to transpose the

This

into a higher or lower scale.

conld be of no advantage to good players

it

but we have also

not heard of these instruments lately.

"

7.

Upright grand pianofortes have been brought

very useful for saving room

we must
we cannot,

but,

preferable to square pianofortes,

"

8.

A smaller sort

confess, that,

a great perfection

to

though in regard

for several reasons, consider

of upright pianoforte, with only

two strings

Wornum, but

been brought forward by Messrs. Wilkinson and

to

by

several of the first makers,

and they are

a fullness of tone, we think them highly

to

them as equal

to horizontal

grand pianofortes.

each key, called cabinet pianofortes, have lately

Whether

by the other makers.

are also manufactured

they will be adopted as preferable to the square pianoforte, time must show."

Page 159,

The New York

line 18.

names deserve to be placed on record

and Co.

Lighte and Newton

W. H. Bowden

Co. of Philadelphia

in the

New York

Page 171,

Exhibition, of 1853, brought into notice a

viz.

A. Bassford

and Co.

Science

of Baltimore.

all

Putnam,

Co.

New

Grovesteen

John Ruck

of Boston.

and Mechanism;

4to.

whose

of pianoforte makers,

Bennett and Co.

Pond and

Firth,

George Hews, and Gilbert

Edited by 0. R. Goodrich, Esq.

Prom M.

and

is

and that in no case the

and

Schomaker and

illustrated hy

York, 1854,

Examples
250.

p.

due

for the accurate

;

but

it

entire board

can be made

to

sympathise

evident that the board in every instance becomes a part

it is

with every note, although

acts in unison

much honour

to another,

Savart's experiments

well as for the splendid results he obtained

M.

Jean Lankota

Hallet, Davies

and others which vibrate

with any particular sound.

observed by

Hazelton and JBrother

" Some philosophers have imagined that there are certain fibres in a sounding-board which

line 10.

this philosopher

and Knare, and Gahele and Co.

of a vibratory system,

number

William Hall and Son

Charles J. Holden

Exhibition, 1853-4.

vibrate to one tone,

To

New York.

all of

much more

perfectly with

some than with

others.

and ingenious manner in which his experiments were made, as

ought in fairness to be stated that the fact here alluded to was

first

Perrole."

In stringed instruments the sound

is

not produced by the vibration of the strings alone, but

of these vibrations to the substances that

surround them

vibration of the entire body of an instrument.

and experiments have been made

See Mr. Higgins's charming volume on

by

the communication

to

prove the absolute

The Philosophy of Sound, 12mo.

1838.

Page 188,

line 9.

two strings instead of

soft cloth

The

old

three, or

way

of producing the soft tone

one instead of two

between the hammer and the

string,

risk of putting the instrument out of tune

to

fall,

when

is

now

hammers would

is

the " dolce

required,

chimes of distant

Page 206,

down music
p. 12,

is

line 11.

bells,

whence

A more

its

name."

campana "

The mechanism

is

upon an equal number

Science

effect,

without the

string.

pedal,

by which the sound

simple, being merely a

of screws fixed in the

and Mechanism,

minute account of Hohlfeld's claims

to

4to.

Putnam,

New

is

prolonged and

number

of weights

sounding-board

of course, alters the vibrations, and, in connexion with the other pedals, produces great brilliancy
like the

strike

often adopted of interposing a piece of

which deadens the blow, and produces a very pleasing

that of sweet bells or harps.

arranged, by a lever pedal, to

to shift the action so that the

method

by striking upon only one

" One of the recent American improvements

the quality changed

was

the French

and delicacy

York, 1854,

this

of tone

p.

250.

having perfected an instrument for noting

given in Professor Beckmann's History of Discoveries, Inventions,

and

Origins, edit. 1846

vol.

from which we extract the following

After noticing Creed's proposition, he goes on to say, " In the year 1745, John Frederic linger, then land-bailiff
known by several learned works, fell upon the same invention without the
is

and burgomaster of Einbec, and who

ADDITIONAL NOTES AND ILLUSTRATIONS.

smallest knowledge of the idea published in England.

he did not make known

Academy

till

the year 1752,

a description of it was never printed.

" A few days after Euler had read

him

This invention, however, owing

transmitted a short account of

The Academy highly approved

of Sciences at Berlin.

invention, and advised

when he

of

it,

and

it,

was soon

it

to the variety of his occupations,

accompanied with

figures, to the

celebrated in several gazettes

but

Unger's before the Academy, M. Sulzer informed Hohlfeld of the

this paper of

exert his ingenuity in constructing such a machine.

to

403

In two weeks this untaugh

mechanic, without having read Unger's paper, and even without inspecting the figures, completed the machine, which

Unger himself had not been

" Unger's

own

able to execute, through

description of his invention

want

of an artist capable of following his ideas.

was printed with copper-plates

with the correspondence between him and Euler, and other documents.
with figures, was published after his death by Sulzer, in the
title of

'

Description of a machine for noting

at

Brunswick, in the year

1774<, together

description of Hohlfeld's machine, illustrated

New Memoirs

of the

down pieces of music as fast

Academy

of Berlin, 1771,

under the

as they are played upon the harpsichord.'

Sulzer there remarks that Hohlfeld had not followed the plan sketched out by Unger, and that the two machines differed
in this

that Unger's formed one

piece with the harpsichord, while that of Hohlfeld could be applied to

any harpsichord

whatever.

"

When

Dr. Burney visited Berlin, he was made acquainted with Hohlfeld's machine by M. Marpurg, and has been

so ungenerous, or rather unjust, as to say, in his

'

Musical Travels,' that

own words

his proofs, I shall here content myself with quoting his

to deprive

share

it

it is

an English invention, and that

This falsehood M. Unger has fuUy refuted.

before fully described in the Philosophical Transactions.

in the following passage

our ingenious Hohlfeld of the honour of being the sole author of that invention, and

'

How

to

had been

can Burney wish

make an Englishman

with him, because our German happened to execute successfully what his countryman. Creed, only suggested?

Such an attempt

is

When we

on the high estimation in which music

reflect

as unjust in

its

consequences as ^t

is

dishonourable to the English nation and the English

is

a property peculiar

to the English, it

affords just matter of surprise that the English artists should have suffered themselves to be anticipated

journeyman lace-maker.
invention

of constructing this

To our

artists.

held in England, the liberality of the English nobility, and

spare no expenses in bringing forward any useful invention

their readiness to

German

it

Without repeating

by a German

Hohlfeld, therefore, will incontestibly remain the lasting honour of having executed a

and the Germans may contentedly wait

to see

whether Burney will find an English mechanic capable

machine from the information given by his countryman Creed.'

''

E E E 2

405

INDEX.
See also the Glossary of Terms used in

the

Mamufacture of the Pianoforte

(p.

387), the references to

which are not included

in the present Index.

Page.

A.

Barton, William, an improver of the harpsichord... 86, 149

Action, explanation of the

various diagrams of the
Actions, downward, of various makers

Adam,

184

et seq.

Baudin, a maker of spinets, &o

187

et seq.

Bauer, his transposing piano

207

194

et seq.

Beck, pianoforte maker

147

220

Becker, John Conrad, musical instrument maker

151

217

Bemetzrieder, Antonius, patent for improvements in the

G. pianoforte maker

Addison, R. pianoforte maker

Additional keys to the pianoforte

141, 401

69, 85

151

pianoforte

maker
Aggio, G. H. pianoforte maker

218

Berden, Messrs. P. and C. pianoforte makers

218

Berlin

Agricola, Martin, his Musica Instrumentalis

49
217

Bessali^,

Aerts, F. G. pianoforte

W. H.

Akerman,

pianoforte

maker

Allen, "William, pianoforte maker

152, 154, 158

Museum, ancient lyre preserved

H. P. pianoforte maker

218
5

in the

159, 220

Bindella of Treviso, a celebrated performer on the

harpsichord,

&c

228

217

Blanchets, family of the, eminent musical instrument

Alwood, an early composer for the virginals

228
Amphion, addsthree strings to the lyre
5
Ancients, knowledge of counterpoint possessed by the 11

Blitheman, William, his compositions for the virginals

Allison, Messrs. pianoforte makers

Anemochorde

203

Anne, Queen, her spinet bequeathed to the Chapel

Royal
Apollodorus, his account of the lyre

Aitnsi,

Ms

Imperfettioni della Tnodema Musica

68

77
67, 77

Asard, John, harpsichord maker

401

an instrument of the Jews

13, 15
Aston, Hugh, an early composer for the virginals
228
Athenseus, his notice of the simicum and the epigonium 35
Aucher and Son, pianoforte makers
219
Ashiir,

81
59, 228,

by

233
86
156

an early composer
Bonanni, his Oabinetto Armonico

42,

226

34, 67, 77

Boccaccio's Decameron, important passage in

Bochet,

Henry

du, patent taken out

Bologna, Jacopo

ArcMcembalo, a harpsichord with six rows of keys

makers of Paris

di,

Bord, pianoforte maker

219

Boulogne-sur-mer, ancient

in the library

Bowman, Robert, virginal player

Edward VI, and Queen Mary

in the

clarichord

John

31

Christian, his arrival in England.....

1.31

Sebastian, his visit to Frederick the Great

31

Capriccioby
Backers, Americus, an early pianoforte maker

M.

Balbastre,

Barbitos, a

name

235
89, 131

Kuckers harpsichord

his

Ball, James, pianoforte

maker

76
150, 157

for the lyre

Barbetta, Giulio Cesare, an early performer on the

harpsichord,

&c

Bartholomeus, his

Ms

228

& PrqpnetoiJMs iJeram

description of the cithara

55
82

Breitkhopf and Hartel, pianoforte makers

220

Breton, Nicholas, his flourish upon Fancie. ...

its

20,

29
29

60

Phenomena

171, 174

Garden Theatre. 133

Bridge, uses of the, explained

Brinsmead,
British

J. pianoforte

182

maker

217

Museum, MSS. quoted

25

Broadwood, John, the founder of the eminent firm

113

his opinion of the clavichord

Courts of

Brass tongues used in the place of quills

Brickler, Miss, her benefit at Covent

Bach, Carl Philip Emanuel, his pianoforte works 232, 235

his performance on the

19

of.

Bow-shaped harps

^vew&:,'Dv. on Sound and

B.

MS

139, 150, 157

James Shudi, his Son

140, 153, 154

his Practice of Tuning

375

Henry Fowler, grandson of John Broadwood 156

Messrs., Ruckers harpsichord in their possession
their metallic bracing

74
167

number of instruments made by

them annually
211
their pianofortes in the Great Exhibition

217

406

INDEX.

Page.
Bruce, his account of the harps in the tomb of Bihin el

Molo6k

9, 10,

11

Buohner, Johann, a famous performer on the harp-

&c

sichord,

228
81

stop in the harpsichord

81

Bull, Dr. John, his virginal compositions

Bull, harpsichord

Buntebart

59,

maker

(or Buntlebart), pianoforte

Borel, his account of the

233

74
132

maker

Buntlebart and Sievcrs, pianoforte makers

notice of

the

'.

38
on the Pianoforte 161
Chambonni^res, his harpsichord works
230, 234
Champion, Jacques, an early composer for the harpChambers's Edinburgh Journal,

difficulties

of

sichord,

78

M. Balbastre

89

93

Buttery, George, pianoforte

maker

189
151
59,

157

233

book

name

for the lyre

described

Cabinet Pianoforte

19

25

CkAnoon, an instrument used in modern Egypt

account of Queen Elizabeth's love of music

55

&c

228
18

Caracoi, Annibal, his painted harpsichord

75

inventor of a melographic piano

206

Carleton, Richard, an early composer for the virginals. 228

Count G. R. his account of

Cristofali's invention

Louis Bertrand, the inventor of the Ocular

Harpsichord
Castello,

Clavecin d" Amour

de,

82

Catgut used for the Egptian harps

Knyght of the Toure

Celestina

the

W. W.

29
399

31, 41,

name

81

from the clarichord

32
33
28, 29,

79

Clementi, Muzio, biographical notice of

143

Clementi and CoUard, their bridge of reverberation

182

their se^-acfe'njr pianoforte

206

Cloth used in place of the quill in harpsichords

79
Coleman, Obed. Mitchell, patent taken out by
156
Collard, Frederic "William, the founder of the house of

CoUard and CoUard. ..146,

Messrs. their

mode

152, 153, 158

of stringing

their patent

grand action, diagram

of...

178
190

number of instruments made by them

annually
their

43

Collin, pianoforte

42

Cologne,

his Lecture on the Musical Depart-

Great Exhibition

by Marius

Clavicymbal, the origin of the harpsichord

398

Catherine of Spain, entertainment to

ment of

origin of the

228

Catgut strings

Cazalet, Rev.

197
103

mechanism

its distinction

an early performer on the harp-

&c

Ca.'siiOTi,'in.s

its

82

Paulo

sichord,

155

Clavecin viole

94

of the pianoforte
Castel,

by

Clavicytherium

Canticum or psaltery

Carli,

41

83

Clark, Joseph, patent taken out

36

Canareggio, Andrea de, an early performer on the

M.

24

MS. romance

Clarion

173, 217

Calanson, Giraud de, his CoMeJZs SK Jenifer

Carreyre,

29

of the middle ages

157

Cadby, C. pianoforte maker

harpsichord,

by Bartholomeus

Clavecins a Mailkts, invented

Iiis

168

Queen Eliza-

Clavichord, notice of the

C.

Camden,

of

his article

Olariodus and Meliades, a

120

Byrd, William, his virginal compositions

difficulties

Citole, description of the

his account of the progress of the piano-

Germany

H. F.

Cithara, a

his notice of Tschudi

Burney, Mr. pianist to Drury Lane Theatre

their metallic framing

59
on the Pianoforte Composers 232
Chounter, Anthony, virginal player in the Courts of
Edward VI and Queen Mary
55
Chorley,

83

and other contemporary harpsichord makers

on the excellence of English harpsichords

Choron, A. his notice of the

76

account of his visit to Farinelli

for the lyre

Chetham Library, Manchester, curious broadsides in .86, 88

Chichering, Messrs. of Boston, pianoforte makers 159, 217

beth's virginal

makers of

Antwerp
account of his visit to

forte in

name

Chelys, a

26
185

'

69

his account of the harpsichord

230
68

Chaucer, his Knight's Tale

59

his notice of the spinet

&c

Check action

Queen

Elizabeth's virginal book

article

611

17

36

the term explained

on the construction of ancient

Musical Instruments
his

Cembalo, Boccaccio's mention of the

Chapel Royal, old spinet belonging to the

Buret, a writer of harpsichord music

231
Burkinyoung, Frederick Handell, patent taken out by.. 156
Burney, Dr. his account of the Theban harps
11
Reflections

93
199

147

Queen of James VI entering

Edinburgh

158

harp

Celestial

Celestinettes

Buff leather, a substitute for quill

-Bii/;

Page.
Celestina stop

211

instruments in the Great

Ex-

hibition

217

maker

219

Johann von, a celebrated performer on the

&c
Bach and Abel's

harpsichord,

211

Concerts,

199

Confessio Amantis, Gower'a

228
{note)

132
26

INDEX.

407

Page.

Conrad of Spire, a famous performer on the harpsichord,

&o

228

Cornish, William, his Treatise between Trouth andlnfor-

macion

44

Correggio, Claudio

di,

147
159, 220

Douce, Francis, his description of the clavichord

Douglas, Gawain, his Palace of Honour

Downward

an early performer on the harp-

Page.

Done, Joshua, pianoforte maker

Dormer, F. pianoforte maker

actions

30
22
194

et seq.

&c

228

Dreaper, pianoforte maker

171

Corrie, pianoforte malier

147

Dreschke, Theophile Auguste, patent taken out by

Driggs, Messrs. of New York, pianoforte makers

156

sichord,

an early clavichord performer

Cortecia, Francesco,

227

Cottage pianoforte

157

Couchet, a maker of

sijinets

Counterpoint, whether

known

to the ancients (note)

Couperin, Fran9ois, his harpsichord works

68

Dulcimer

11

Dulcino

231, 235

24 38

23,

23

Dulcken,

Dan, harpsichord maker

J.

73

Duliacordis

Coxe, Archdeacon, his Anecdotes of Handel and Smith ... 74

Creed, Eev. Mr. Ms plan for a MelograpUc piano ...205, 402

Dumont, H.

Crisp, Samuel, Esq. biographical notice of (noJe)

Dulzain

130
Bartolommeo, the inventor of the pianoforte
94 et seq.
Cromwell, Samuel Thomas, patent taken out by
156
Cropet, pianoforte maker
219
Crotone, an Italian harpsichord maker
79

159

Spencer, his newly-constructed square pianoforte 169

23
284

his virginal compositions

23

Cristofali,

Cuijpers, J. F. pianoforte

Custom House

maker

220

rates in 1545

Cymbals, the ancient, described

38,

their use in churches

49
40

B.

Early composers for instruments of the pianoforte

East, Peter, instrument

Edward

class.

maker

149

the Sixth's virginal players

Edwards, Richard, his compositions

55
for the virginals

Egyptians, Ancient, their knowledge of music

15,

Elizabeth, Queen, her love of music

41

Cymbal octave, and cymbal regal, ancient stops in the organ 41

58

her virginal book, in the Fitzwilliam

Museum, Cambridge
D.
Danchell, Frederick

Ludwig Hahn, musical instrument

D'Anglebart, a writer of harpsichord music

Adam,

Davie,

his metrical Life of Alexander

Davis, John, organ builder

Samuel, musical instrument maker

Day, Francis, his patent

for

147

231

English action

159

25
150

English harpsichords, the excellence of

Deacon, pianoforte maker

217

DeaMn,

153

Patents

35

207

122

for

Diagram

et seq.

on the

improvements

151, 152, 157

pianoforte
of his patent

grand

action...

190

Pierre, patents taken out by, &c. 153, 155, 157, 217, 219

Messrs. their metallic bracing

157, 219

his contrivance to supersede barrels

217

Brard, Sebastian, Memoir of

154

Debain, Alexandre, pianoforte maker

93

Eunever and Steedman, pianoforte makers

Epigonium, Athenseus's description of the

152, 157

Francis, improves musical instruments

74

Elwick, pianoforte maker

151

forte

maker

Elsche, Vanden, harpsichord

154

improvements in the piano-

John, improves musical instruments

58
43

Elizabeth, of York, her Privy Purse Expenses

maker

228
398
55

virginals belonging to

223

Euler, Dr. his account of a melographic pianoforte

drama performed

168
{note)

205

Deffaux, pianoforte maker

218
an oratorio performed in 1600 78
Dennis, Jean, a celebrated maker of spinets
68
Denon, his drawings of the Theban harps
9
D^tis and Co. pianoforte makers
219

Eurydice, a

DelV Anima

Evelyn, John, his account of a harpsichord

Dibdin, Charles, biographical sketch of

133
65

Faggia, Enrico Rodesca da, an early performer on the

Diettmar, "William, pianoforte maker

154

Farinelli's harpsichords

83

Dieudonn^ and Bladel, pianoforte makers

220

Farini,

202

an Italian harpsichord maker

Farnaby, Giles, composer of the virginals

79
59

Dimoline, A. pianoforte maker

218

Farrant, Richard, his compositions for the virginals

Diruta, Geronimo, his II Transilvano

228

Fattorini,

177

Fenton, a maker of spinets, &c

e del

Corpo,

his notice of Garrick's old virginals

Dietz,

Dodd,

M. inventor

his article

of the Polyplectron

on the pianoforte

Edward, musical instrument maker

Dolce Campana pedal

Domeny, L.

F. pianoforte

....

154, 155

402

maker

219

at

Florence in 1600

78
198

F.

Faber, Daniel, clavichord maker

harpsichord,

FetiSj,

F.

47

228

&c

....

J.,

Ms
Ms

Sketch of the History of the Pianoforte,

description

by Boccaccio

228
227

an early clavichord performer

69, 85
See.

28

of the Cembalo, mentioned

37

INDEX.

408

Page
Fetis, F. J.

ceremony in honour

of,

at Brussels (note)

...

on the origin of the virginal

Greiner, Frederick George, pianoforte

Greiner, J. F. pianoforte maker

Greville, Fulke, Esq. biographical notice of

on Italian harpsichords

79

his notice of Cristofali {note)

95

his

ia Musique Misi

a la Forth de tout

208
232

on C. P. E. Bach
Fieheg, inventor of an instrument to
his remarks

sustain the

Fisher, Pierre Frederic, patent taken out

Fliigel, the

German name

museum

401

154

220

Charles, patent taken out

Guy nemer,

155

by

H.

72
113

Forkel, Dr. his Zi/e of Bach

81

Forte, stop in the harpsichord

Franche, C. pianoforte maker

219
119

Hamilton's Art of Tuning

maker of fhe first square

pianoforte

Rome

229, 233

229

Froberger, the celebrated organist

24

Hackbret di-awing of the

203
Hackel, inventor of a piano to sustain the sounds
Halliwell, J. 0. Esq. his Collection of Proclamations,
86
Broadsides, &c. in the Chetham Library

Frescobaldi, Girolamo, the celebrated organist of St.

Peter's at

91,

maker

of 813

for the harpsichord

Frederici, Christian Ernest, the

Guitar, favour of the, in this country

Gunter, John Henry Anthony, pianoforte

154, 155

by

Florence, drawing of harps preserved in the

130

Gurike, B. pianoforte maker

203

sounds

217

Guami, Giuseppe, an early composerfor the harpsichord 229

Guido, said to have invented the Clavier or key-board ... 36

le

Monde

154

maker

38

48

373
147

Hancock, pianoforte maker

Hancock, John Crang, organ builder

150, 150

235

Handel, Capriccio by

74

Handel's harpsichord
G.

on the

Andrea, composer and performer

Gabrielli,

227, 229

harpsichord
Galilei, Vincenzio, his Dialogo delta

Musica Antica

231

Harmonic Chambers

171

Harp

drawings of the, in the tomb of Biban

35, 71

Moderna

Hardelle, a writer of harpsichord music

its

Ganer, pianoforte maker

147

belonging to Salvator Rosa

Garbrecht, inventor of a piano to sustain the sound

203

belonging to Handel

inventor of the Plectroeuphon

150 157
138

Garcka, John, pianoforte maker

Gardiner, "William, of Leicester
Garrick's " old virginals "

65

Gautier, a writer of harpischord music

231

Gebauhr, pianoforte maker

220
19

Gcrbert, the Abb^, biographical notice of

German mechanics arrive in England

German mechanism of the pianoforte
Gerli, a machinist of

131

118

200

Milan

Geronimo, of Florence, pianoforte maker

129

Gherardi, of Parma, pianoforte maker

129

59

Gibbons, Orlando, composer for the virginals

Gieb, John, the inventor of the grasshopper action

140, 150, 157

Gilbert and Co. pianoforte makers

Gillespy, Samuel, harpsichord

maker

218
jjt,

Gluck's pianoforte, described by Thalberg

150
95

Gfiornale de' Litterati d' Italia

[note)

133

Godwin, John, pianoforte maker

Gower's Confessio Amantis

155

Graces used in old harpsichord music

231

Grainer, inventor of a piano to sustain the sound

203

Grassineau, his Musical Dictionary

his description of the cymbal

Greeks, musical instruments of the..

Greflf,

26

&c

9,

use in the public theatres of

75

74
pedal
84
vertical
79
Harpsichords, painted
75
with three rows of keys
80
transposing
84
Harris, Baker, a maker of spinets
400
Harris, John, a celebrated harpsichord maker... 85, 86, 149
Harrison, J. pianoforte maker
217
Harwar, J. pianoforte maker
217
Hattersley, "William, pianoforte maker
156
Haward, Charles, a maker of spinets and harpsichords 68
Hawes, Stephen, his Pastime of Pleasure
43
Hawkins, John Isaac, pianoforte maker
168, 402
Hawkins, inventor of a piano to sustain the sounds
203
Hawldns, J. S. his MS. on the Troubadours and Provencal
Poets

226

Hawley, John, patent taken out by

Hayward, John, harpsichord maker
Haxby, Thomas, harpsichord maker
Heath, an early composer for the virginals

155

84
149

21

39

Hengrave Hall, ancient inventory of musical instru-

228

10
70
85

London ....

Hebrew musical instruments

Heitermeyer, T. pianoforte maker
Helmingham Hall, Suffolk, ancient

Valentine, a celebrated performer on the harp?

sichord,

Molook

Harpsichord

202

Gama,

el

7,

228
12

159, 220
virginals at

ments at

Henry the Seventh's Privy Purse Expenses

Henry the Eighth

58

60
43
51

409

INDEX.

Page.

Page.

Herny the Eighth, the Venetian Ambassador's account

of the Court of

52

Privy Purse Expenses of

53
Herberth and Co. pianoforte makers
218
Heroulaneum, representations of musical instruments
found at.....
4, 6
Herding, pianoforte maker
219
Hermes, see Mercukt
Herz, H. pianoforte maker
159, 219
Hews, G. pianoforte maker
218
Heyden, John, inventor of the " Geigen Clavycymbal" 197
Heywood, John, the virginal player
55
Higgins, J. M. his work on Sound
18
Hildebrand, John Godfrey, a famous maker of musical
..

instruments

218

Jaulin, J.

219

Jebb, Rev. John, his Literal Translation of the Book of

Psalms
Jenidns,

68

Hoffhaimer, Paul, organist to the Emperor Maximilian 227

Hogarth, George, his History of the Pianoforte
95
Hbhlfeld, of Berlin, his 6owe(i harpsichord...

198
206, 402

his melographic piano

Holderness, C. pianoforte maker

217
22

Holland, his poem of The BouHate

Hollinshed, his notice of

Henry

the Eighth's fondness

music
Hopkinson, an improver of the harpsichord

51

for

Richard,

Garden Theatre
J. C. and Co. pianoforte makers
Joyce, George, instrument maker
Julyan, F.

HuUmandel, N. J, his article Clavecin,

Juvenal, his notice of musical instruments

147
159, 218

K.

Hiini and Hubert, pianoforte makers

Hunt, F. pianoforte maker

217

so called

William, composer for the virginals

the engineer and mechanician

Kenilworth Castle, the Earl of Leicester's musical

13,

Ejrk, William, pianoforte maker

Kirkman, Jacob, the eminent harpsichord maker

89,

his

nephew

217

pianoforte makers
3,

clavichord

13

maker
maker

219

Kleinjasper, J. F. pianoforte

Klems,

J.

B. pianoforte

Soma,
,

Koch, H. C. his Musikalisches Lexikon {note)

KoUman, George Augustus, his improved pianofortes

153, 155

228
47

&c

his harpsichord

220
234

works

219

alii

79

L.

'

La Barre, a writer of harpsichord music

Lambeirt, Thomas, musical instrument maker
Lampe, Frederic Adolph,

his

57, 72

Oieeo,

39

an early
226

composer

allusions to the,

57

alluded

68

Lardner, Dr. his Popular Essays on

57

231
156, 217

work De Oymbalis Veterum

Landini, Francesco, alias Francesco

Landreth, John, musical instrument maker

Lange, M. his invention of the JEolodikon

Jadra, Marco, an early virginal maker...

220
26
110

Kotter, Johann, a famous performer on the harpsi-

Kiitzing, pianofortt-m'-ker

J.

by the old dramatists

by John Strangways

13

121

Kitarus, or cithara

59

93

to,

147

Joseph, his grand nephew... 91, 140, 152, 156, 158

Kuhnau, Johann,

76

Lord, Oxford's allusion to the

et seg.

91, 140,

Kiihmst, G. pianofore maker

of the 18th century

Jack, description of the..

198
155

140

Abraham,

77

Italian harpsichords of the 16th century

in Festa, fatta in

60

instruments at
Kircher, Father, his JHwsMrj/ia Universelle

203

M.

shown

139

Kramer, of Gottingen, clavichord maker

11 Desiderio, curious notice of musical instruments in a

Feb. IGZi

and harpsichord maker

68, 69, 85

Kelly, Michael

chord,

di

spinet,

219

I.

25

129

Kalkbrenner
Keen, Stephen, virginal,

Knight's Tale

in the Encyclopidie

41

Italian Orchestra as

Kirnberger, John Philip, his performance upon the

217

149

204

with sustained sounds

184
159, 168, 219

MUhodique

217

Kinnor, a form of lyre

Hund, F. and Son, pianoforte makers

Isoard,

J. his pianoforte

139

217

47

.,

59

Robert, composer for the virginals

Kirkman and Son,

Exhi-

bition

59

the virginals.... 228

82

their pianofortes in the Great

Inglott,

his. compositions for

Jones, Griffith, pianist to Covent

Messrs. their repetition and tremolo action 186

Hopper, explanation of the

Horn, clavichord maker
Hornung, C. C. pianoforte maker
Houston and Co. pianoforte makers
Hoxa, of Vienna, pianoforte maker

217

Johnson, Edward, composer for the virginals

157, 158

John, pianoforte maker....

16

12,

W. & Son, pianoforte makers

119, 122

Hitchcock, John, a maker of spinets and harpsichords

work

maker
pianoforte maker

JastrzSbski, F. pianoforte

150, 157

201

Scientific Subjects

186, 193, 209

399

F F F

410

INDEX.
Page.
199

Page.
Lasz, Roland Von, Chapel Master to

Duke Albert

Mason, William, his

of

Bavaria

47
26

Laimfal, the romance of

Layard, Dr. his discoveries at Nineveh

15

Lemme,

47

Carl, clavichord

maker

Lenkler, Christopher Michael, of Kudolstadt, an ingenious pianoforte maker

120

Adam, virginal maker

Lichtenthal, M. pianoforte maker
Leversidge,

Lidel, Joseph, patent taken out

400
159, 220
155

by

Lipp, R. R. pianoforte maker

Livy

220

his notice of musical instruments

preserved in the Berlin

figure of a

Museum

of,

culaneum
Lytton, Sir E. Bulwer, ancient virginals in his posses-

'

66

virginal playing

58

his description of the

manichorde

...

46

his description of the spinet

66

his description of the harpischord....

72

Merulo, Claudio, an early clavichord performer ... 227, 229

165
Metallic bracing
87
Metals, used in place of the quill, in harpsichords

216

used in the manufacture of pianofoTtes

maker
maker

Metzler, George, pianoforte

Monochord of the middle ages

of the 16th and 17th centuries
Monoc6rdo, an instrimient of the clavichord kind
Mental, C. pianoforte maker
Moore and Co. pianoforte makers
Morley, Thomas, composer for the virginals

35,

236
398
34
31
219
217
59

Montfaucon, his examination of the ancient musical

M.

instruments

17

Mozart, his notices of Stein's pianofortes

'

the pianoforte

Mahoon, harpsichord maker

95
401
45, 46

Manichord, description of the

Marius, M. his claim to the invention of the pianoforte
102 et
his clavecin

13

notice of

Maffei, Scipione, his account of Cristofali's invention of

maker and

93, 138, 150, 157

mechanist

Mersemms, Marin, biographical

Montgomery, James, patent taken out by

.-

Merlin, Joseph, a celebrated harpischord

84
Mace, Thomas, his "pedal harpsioon"
47
Mack, clavichord maker
Maokinlay, Thomas, Esq. virginals in his possession 64 ,399
218
M'Culloch, pianoforte maker

156, 219

Mercier, Sebastien, pianoforte maker

Mercury, legend of the lyre concerning

Mondonville, De, Toccata by

163

Queen Elizabeth's

199

88,

sion

Melville, Francis, pianoforte maker

Melvil, Sir James, his account of

''

seq.

copied from vases found at Her-

Lyrichord

Medieval Instruments that preceded the invention of

the key-board
205 et
Melographio pianos

217
132, 218
Meyer, Conrad, pianoforte
inventor of a piano to sustain the sounds 203
Milleville, Alessandro, an early performer on the
228, 229
harpischord, &c
Moigno, the_ Abb6, his discoveries in musical science ... 379

Theban

Greek
Lyres, drawings

Materials used in the construction of pianofortes. 215 et seq.

218
Mathews, W. pianoforte maker
234
Matheson, John, his harpsichord works
Mechanical contrivances to obtain sustained sounds.197 et seq.
205 et seq.
pianos

Loeschman, David, pianoforte maker

152, 180
Longman and Broderip, dementi's predecessors in the
pianoforte trade
145, 147, 158
Loosemore, John, virginal maker
63, 64
Lorris, Guillaume de, his Roman de la Rose
25
Loud, Thomas, musical instrument maker
152
Louli^, Francis, his Nouveau Systhme de Musique
378
Luff and Son, pianoforte makers
217
Lully, Jean Baptiste, his harpsichord lessons
234
Luscinius, Ottomarus, his Musurgia seu Praxis Musicce
described
23
Luthiers, makers of musical instruments of Paris
124
Luzaschi, an early composer for the harpsichord, &c.... 229
Lydgate, his Poem on Reson and SensualitU
26
Lyre
2
Egyptian
1, 4

celestinettes

vielle

Mott, Isaac

Henry Robert,

pianoforte

inventor

157

maker
of

156, 217

the

sostinente

pianoforte

152, 158, 200

his early performance

115

on the pianoforte

(noie)

Neue BerUnsr Musik-Zeitung

198

Miiller, inventor of a piano to sustain the

67

54
55

134
Mason, William, biographical notice of
description of the mechanism said to
,^_
be invented by
137

117

117

[note)

aeq.

Marot, Clement, his mention of the spinet

correspondence relative to his pianoforte, in the

Muffat, Teofllo,his compositions for the harpsichord

Mulcaster, Richard, his eulogy of Queen Elizabeth

Mary, Queen, her love of music

her Privy Purse Expenses when Princess

sound

235

57
203

Mulliner, Thomas, his Book for the Virginals,

MS. temp.
Henry VIII
228
Mundy, John, his compositions for the virginals. ... 59, 228
Miirshhauser, F. X. A. his harpsichord works
234
Musical Directory for n^i.
Musick's Hand'Tnaid

147
,

53

INDEX.

411

Page.

N.

Nabtdum

of the middle ages

Naubauer, Frederick, harpsichord maker

Nebel, the

Hebrew

Newman, an

8, 13,

early composer for the virginals

Neysidler, Melchler,

a celebrated

its

88

its first

15

its

by

Nineveh, recent discoveries at

228

Action

156

original scale of the

168
141

to regulate defects in its

Thomas, composer

Oldfield,

for the Virginals

Organi, Francesco degli, an early performer on the

clavichord

Piccolo pianoforte

85

Pietri, Giovanni,

78

PirssoUj James, pianoforte

219

870
369
217

annual estimate of those made in London.

Player, a

Overberg, Van, pianoforte maker

an adjoining chamber
who have the care of

59

42

370
penetrating

in the Great Exhibition of 1851

217

Orchestra of the London Theatres inl667

Or/eo, an opera performed in 1607

et seq.

Pianofortes, hints to those

82
pianoforte makers

mechanism. 380

how to place it for effect

how to prevent its sounds from
into

158

Ocular harpsichord

133
162 etseq.
162

0.

Oetzman and Plumb,

introduction on the public stage

construction

162

159, 218

Octave stop to the pianoforte

et eeq.

introduction and progress in England... 130

Stringing

16

Clark, pianoforte makers

112

Framing

228

harpsichord, &c.

progress on the Continent

its

21

performer on the

Nickels, Benjamin, patent taken out

Nunns and

Page.
Pianoforte,

maker

167

composer for the virginals

of

211
59

maker
spinets, &o

Plectrum described

159, 218
69, 85

[note]

Plenius, Rutgerus, a celebrated harpsichord maker. 87, 131,

149
P.

Pleyel, Ignace, biographical Notice

Pace, Richard, his Letter to Cardinal

Wolsey

45

Painted harpsichords
Palace of Honour, quotation from
Pandoron, a musical instrument of the lute kind

Panormo, Francis, the

first

75
22

30

MS.

141
158, 159, 172, 194, 219

in the Imperial library of

19, 21

Parker, "William Phillip, patent taken out by

Parthenia Inviolata, or

and Bass

Great Exhibition of 1851

Mayden Musickefor

157

PoU-Toni-Olavichordinm, a musical instrument invented

by Stein {note)
Polythongum , an instrument of the lyre kind

115

Pottje, J. pianoforte maker.

218

63

Prsetorius, his description of the

Parthenia, or the Maydenhead of the first musicke that ever

Paston, Mr. Princess Mary's teacher on the virginals

Pasquino, Bernard, a writer of harpsichord music

...

Ercole, a writer of harpsichord music

Patents,

list of,

149

chronologically arranged

Paulmann, Conrad, an early organ performer

54

Pepys, his notice of the virginals at the

de, inventor of the

Proposto, Nicolo del, an early composer

231

Proven9al poets
Proverbs at LecMngfield

59

fire

of London.

Perronard, a French harpsichord maker

64
200

Pether, George, pianoforte

maker

147

Philips,

Phillips, Peter,

of a later period, described

Purcell, Henry, his harpsichord

20
21

works

234

Pythagorean Monochord

35

Q.

Quilling a harpsichord

229
82

(note)

Quintilian, his notice of ancient musical instruments....

17

R.

159

218
59

composer for the virginals

Pianoforte, claimants to the invention of the

by Bartholomeus ...

of the fourteenth and fifteenth centuries

19

159

maker
pianoforte maker
J. B. pianoforte maker

Petzold, pianoforte
Pfeiffer,

18,

Quagliati, an early composer for the virginals

68

maker

34
34
212
42, 226
225
44, 49
15

of the middle ages

81

Pesarese, Domenico, an early spinet and harpsichord

(note)

Psaltery of the Jews

217

Orgcmon-Lyricon

Musiewm described

Prices of pianofortes

188,402

Peerson, Martin, composer for the virginals

clavi-

.'

his Syntagma

Pedals of the pianoforte

200

monochord or

231

227

Peachey, George, pianoforte maker

M.

62

et seq.

Pansanius, his notice of music

Perne,

chord

50,

the Virginalls

17

Pouleau, M. inventor of the Orchestrina

the Virginalls

Viol

was printed for

162, 166, 168, 170, 179,

184, 196, 212, 221

to the pianoforte

Paris,

Camille, pianoforte maker

129, 159
Pohlman, John, an early pianoforte maker
133
Pole, William, Esq. on the Musical Instruments in the

suggester of additional keys

Pape, M. pianoforte maker

127 etseq.

of.

94

et seq.

Rafael

d' Urbino, Farinelli's pianoforte so called

Eedford, John, an early composer for the virginals

Repetition action

83

228
158, 185

412

INDEX.
Page.
401

Page.
Reverberation, the bridge of

182

Richard, a French harpsichord maker

Richard, a writer of harpsichord music

231

79

Richardson, Ferdinand, composer for the virginals

59

maker
Book of Songs and Ballads

Rigoli, a Florentine hai-psichord

Rimbault, Dr. E. F. his

Little

226

and Son, pianoforte makers

217

207

his transposing piano

Roller and Blanchet, pianoforte makers

Roman

219
25

de la Rose

Romans, musical instruments

of the

8,

his Description de V Egypte

The AbbA,

Roussier,

harpsichord

Royal Albert transposing piano

Ruckers family of Antwerp

228

Shudl, see Tschudi.

Silbermann, Godfrey, of Freyberg, pianoforte maker 81, 82
Silbermann, Godfrey, the invention of the pianoforte
erroneously ascribed to

112

him

151
226

Smith and Roberts, pianoforte makers

218

73, 74

H. pianoforte maker
maker
Ryley,, Edward, pianoforte maker

....

147, 149

Smith, Joseph, improves the bracing

J. S. his Mnsica Antiqua

73
159, 219

Riist, pianoforte

for the yirginals

208
68
72, 76

I^iihms,

85

228
12

123

Jean
Andreas

62

...

....^. .:....
33, 35
Simicum, description of the
Simmons, William, an improver of musical instruments 152
44
Skelton's poem, A Comely Gaystrowne
69
Slade, a maker of spinets, &c
153
Smart, Henry, pianoforte maker

75
14

his account of Erard's mechanical

Hans

120

218

his Tempest as acted in 1667.

jSAmwiA, a harp of eight strings

Shepperd, John, an early composer
Shudi, Burkat

Rosa, Salvator, his harpsichord

Rosellini, harps copied from

eminent pianoforte maker

E. pianoforte maker
Shakespeare, his Sonnet on the virginal

Shelbye, an early composer for the virginals

Rolfe, William, musical instrument maker,.. 151, 154, 157

M.

Seuffert, Francis Ignace,

79

from Ancient Musick Books

Roller,

harpsichord maker

Sells,

170
151, 403

Snetzler, the eminent organ builder

89

Soft stop in the harpsichord

81

Soufleto, pianoforte

maker

219

171, 402

Sounding-board

Southwell, William, pianoforte maker. 151, 152, 153, 155,

157, 189, 217

S.

Spaett, or Spaeth,

Sambuc, or Sambuca, a musical instrument of the Jews,

(note)

Spear, John, patent taken out

21

Spenser, his allusion to the virginal

403

Scaliger, Julius Csesar, his description of the Sikiicum.,,

Scarlatti,

232, 234

his harpsichord given to Farinelli

83

Schachinger, a celebrated organist at

Padua

228
220

maker

Scheibler, his apparatus for tuning pianofortes.,

Schiedmayer and Son, pianoforte makers

Schmidt, pianoforte maker

maker
pianoforte maker

379
220
200
218
203

Schneider, J. pianoforte
Schnell,

83

Bomenioo, his harpsichord works

Scheel, C. pianoforte

Schobert, his harpsichord with a double bottom

81

Schott and Son, pianoforte makers

Scholtus, pianoforte

maker

220
219

....,,

of the pianoforte

H.

108

220

concerning
Schwieso, John Charles, musical instrument maker

Lord High Treasurer's Accounts quoted

and Alexander, pianoforte makers

Self-acting pianos,

&9

206

Lowe Degree .,
.,
Stanhope, Lord, his method of stringing
Squire of

Steel wire

183

.:

John Andrew, of Augsburg, harpsichord and

Stein,

pianoforte maker...,

,.

Stodart, Robert, the founder of the firm.

.-

120
218
153, 154, 155, 156
140, 147, 150,151,
157
82, 115,

maker
Stewart, James, pianoforte maker
Sternberg, L, pianoforte

Messrs. their metallic bracing

165

and Son,

Exhi-

their pianofortes in tiie Great

bition

et seq.

217

Stops in harpsichords

81

John Andrew, pianoforte maker

Striggio, Alessandro,

String, stretched, /r< canon of the

227
22
179
209

manufacturing

154
42

ei aeq.

219

Squarcialupi, Antonio, surnamed Antonio degli Organi.

Statistics of pianoforte

58

33, 66

142

151, 402

61
possession...

Spreoher and Beer, pianoforte makers

Streioher,

Scott, Robert, John,

157

Mr. ancient virginals in his

Spinet, description of the

et aeq.

pianoforte maker,

Schroeter, J. S. an early pianoforte player, mistakes

Scotland,

Sperling, Rev.

^___

Schroter, Christopher Gottlieb, his claim to the invention

Schroder, C.

by

23

Sautter, Charles Maurice Eliz^e, patent taken out by... 156

Savart,

119

musical instruments

13, 15, 17,

Sautry, mentioned by Chaucer

John Adam, a celebrated maker of

~-

~-

r-

.,

115, 120

an early clavichord performer

canon of the....,
canon of the

176

jiecoBf?

ftjr(?

227
175

177

Stringed instruments, the particular names of which are

unknown

x2

INDEX.

Page.

stringing

Sti-ings of

U.

i>j^

Messrs. CoUard's method of

179

Unachord instruments

Lord Stanhope's method of.

Erard's improved method oft

179

Unger, John Frederick, inventor of a melographic piano

zontal pianos

183

Upright grand pianoforte

Egyptian harps

for

205, 408

157

pianofortes, diagrams of the framing

169

of.

30

thin wire, of the old pianofortes

of one size and tension

178
180

gold and silver

393

.,..'.

Strogers, Nicholas, composer for the virginals

59

Stumpff, Johann Andreas, musical instrument maker... 155

Summary of pianofortes in the Great Exhibition of 1851. 220
Swellinclj, J. P.

18O

grand hori-

of the clavichord

413

composer for the virginals

59

V.
Valle, Pietro della, his Diseourte on the Music of his

own

Time

67

Vander-Noodt, his Theatre for Vohiptuoua WorUlinga ...

Vensky, clavichord maker

56
47

maker
218
Verospi Palace at Rome, musical instruments in the. 77, 401
Vertical harpsichord
79
Verhasselt, pianoforte

maker
an early pianoforte maker

Viaslsy, J. pianoforte

Viator,

T.

218
181

Vienna Action
Tabel, harpsichord

maker

Vincentino,

217

Violinc-iolie

59,

228

Virbes, the Sieur, his " harpsichord imitating fourteen

228

Taxis, Count, his *-(mposi?i5f harpsichord

83,

180

Terpander adds several strings to the lyre

Testudo, a name for the lyre
Thalberg, S. his Remairhs upon

__^
Theban

5
,,..,

in the

the Pianofortes

Great Exhibition of 1851 .,.. 110, 159, 192

his Description of Gluck'a pianoforte {note) 183

drawing of

lyre,

84

et aeg.

W.

composer for the virginals

Todd, Thomas, organ builder
Todini, Miohele, musical instrument

,,..,..,

69
153

77,

400

59

maker

Tomkins, Thomas, composer for the virginals

Tortoise, the origin of the lyre

Towns and Packer,

Transposing pianos

Abbe

84

204

Gregorio, inventor of the TioUcemhalo

Trevisa, his translation of Bartholomeua

Trumpet Marine of the 16th and 17th

Troubadours

M.

2
217

Messrs. pianoforte makers

Transposing harpsichords

Trouflant,

et seq.
...

centuries

his letter

An Essay

on

the

20
34

80

etymology
~ made "harp
-~ Queen
_

48, 399

of the

name

51

fashion"

53
58

Elizabeth's

self-acting

painted,

64

Mary Queen

of Soots'

75

Vis-a~vis harpsichord

82

Vittoria of Bologna, an early performer on the harpsi-

chord, &c.

228

Vogelsang, Messrs. pianoforte makers

218

>

Theory and Practice

372
of..,.,

or timpano, of the Italians

84
149, 158, 199

Edward Lesley, patent taken out by

Wallace Pianoforte Company
Walton, Humphrey, musical instrument maker
Warren, Ambrose, his ronomeier
Warrock, Thomas, composer for the virginals
-

Webster's

steel

wire

Westermann and

156
169

...

150, 157

379
59

183

Co. pianoforte makers

220
153

Wheatstone, William, patent taken out by

88

74

228
87

36

21,

Wilder, Philip Van, Biographical notice of {note)

.
. musical instruments in the charge

et seq.

of..

"WaiCe, Ma Srut d" Angleterre

Walesby, Mr, his trumpet marine
Walker, Adam, his Celestina

81

373, 379'

Twining, Mr., Kuokers harpsichord in the possession

Tye, Dr. his compositions for the virginals ,.,..

W.

^ .
- and Co. pianoforte makers
White, Thomas, virginal maker
Wiegleb, musical instrument maker

on the inventions of M. Paschal

,

Tuning explained

201

223

;".

.,,

Tasquin ijwti)..,
Tschudi, Burkat or Burckhardt, the founder of the
house of BroadWood and Sons .,,

Tympanum,

77

203

40
Thorn, James, pianoforte maker
152, 158
Thompson, Simon, his improvements in the pianoforte.. 154

Trentia,

by.

De Menaura Oymbalorum

TheoTlMlua,

Tisdall,

made

Virginal or Virginals

harps, drawings of

Nicola, famous harpsichord

wind and chorded instruments "

81

.......'

Tension, equal, of strings

Don

88
.,',

Table of pianofortes in the Great Exhibition of 1851

Tallis, his compositions for the virginals ..
Taskin, Paschal, harpsichord maker of Paris
Taverner, his compositions for the virginals

159, 192

u.

217
399
82

~~

of, on the death of Henry VIII

Wilhelm, of Cassel, clavichord maker
Wilkinson, Sir J. Gardner
Wire, steel and brass

Berlin

54

45, 53

47
2, 3, 9,

13

183
183

414

INDEX.
Page.

Page.

Wood,

Father, the

maker

of the

first

England
Woodcroft,

pianoforte maker.... 152, 158, 154, 156,

157, 180, 190, 191, 217, 402

130
Professor,

his

Indexes

to

the

Wrest pins

Patents

1^8

148

(note)

Wood, James

S. pianoforte maker
Woods, George, improves musical instruments

Woods

Wornum,Eobert,

pianoforte seen in

218
152
215
215
218

used in pianoforte manufacture

Woollen

fabrics used in pianoforte manufacture

WooUey, F. pianoforte maker

WooUey, Thomas, pianoforte maker
Wolf, Robert, pianoforte maker

Workmen employed

Zeiger, pianoforte

maker

165

Zeitter
Zipoli,

79
68

219

maker

Jacob Frederick, pianoforte maker

Zeitter,

155

in the manufacture of pianofortes

213,

Zanetti, a Venetian harpsichord

Zarlino, his spinet with quarter tones

and Winkelmann, pianoforte makers

a writer of harpsichord music

Zump^, John, a celebrated pianoforte maker

154, 191

220
282
182

et seq.

INDEX TO THE SPECIMENS OF MUSIC.

K.

B.

Bach, C. P. E. Rondo in

357

flat

Fantasia

Bach,

J. S.

292

Kuhnau, Johann, Sonata

363

Capriccio

L.

332

Blitheman, William, Gloria Tibi, Trinitas

237

The King's Hunting Jigg

245

LesBufTons
Courante Jewell

248
253

Mattheson, John, Suite de Pieces

299

240

Mondonville, De, Introduction and Toccata

351
344

Bull, Dr. John,

Byrd, William, Sellenger's Round

Lully, Jean Baptiste, Suite de Pieces

M.

Muffat, Teofllo, Fantaisie

C.

348

Air

ChambomiiSres, Suite de Pieces

Couperin, Fran9ois, Suite de Pieces

AUemand

265
316

350
Murshhauser, F. X. A. Variationes super Cantilenam... 284

262

Purcell, Henry, Prelude

D.

Dumont, H.

P.

Suites de Pitees

and Airs

F.
Fi-escobaldi,

278

S.

Girolamo, Capriccio del Soggetto sopra

Scarlatti,

I'Aria di Roggiero

257

Domenico, Sonata in

340

PRINTED BY

J.

MALLEII, 59,

A minor

SonatainG

H.
Handel, G. F. Capriccio in

268

WAEDOUR STREET, LONDON.

806
310

SUBSCRIPTION LIST.

Allison, Ealph, Jun. Esq.

Andre, Gustave, and Co.

Wm.

Andre,

Esq.

Wardour

108,

Street, Soho.

Philadelphia, U. S.

6 Copies.

Islington.

Andrews, Mr. Thomas, Music Warehouse, Guildford.

Ashpitel, Arthur, Esq. F.S.A. Poet's Corner.

Atkins, R. A. Esq. Organist of the Cathedral,

Augener and Co. Messrs. Newgate

Henry

Banister,

C. Esq. Professor at the Royal

W.

12, College Street, Belfast

Beaumont,

J. F.

Esq.

Academy

of Music,

Whaddon, near Royston.

Beevor, Charles, Esq.

W.

Asaph.

Street.

Barry, Mr.

Bennett,

St.

Upper Harley

41,

Street.

Esq. Organist, Andover.

Blackshaw, Edward, Esq. Professor of Music,

8,

Lansdowne Terrace, South Lambeth.

Browne, Mr. R. Music Warehouse, Lowestoft.

Bunnett, E. Esq. Mus. Bac. Cantab. Assistant Organist of Norwich Cathedral,

Upper

Close, Norwich.

Caldecutt, Thomas, Esq.

Causton,

W.

Chappell,

S.

Wm.

Esq, Professor of Music, Woodbridge.

Esq. F.S.A.

Chippendale, A. Esq.

10,

3,

John

Harley Place.
Street, Adelphi.

Clarke, Mr. Joseph, Musicseller, next Reynolds's Mill, Skirbeck, Boston.

Cole, J. Parry,

Arundel, Sussex.

Collard and CoUard, Messrs.

Cooper, Rev. Allen T.

Cooper,

J.

16 and 17, Grosvenor Street,

W-

and 26 Cheapside.

University Club, Suffolk Street, Pall Mall.

Thomas, Esq. F.R.A.S.

13,

Canonbury Square, N.

Corbett and Son, Messrs. Music Warehouse, 108 and 109, Georges Street, Limerick.

416

SUBSCRIPTION LIST,

Wm.

Cotton,

Cramer,

Esq. Mus. Bac. Cantab.

J. B. Esq. Organist,

Organist of Trinity Church, Kentish Town.

Loughborough.

Crossley, G. J. Esq. Professor of Music,

Bowdon, near Manchester.

Crowe, Richard, Esq. Professor of Vocal Music, Liverpool Collegiate Institution.

Cruse, Edward, Esq. Organist of St. Barnabas' Church, Pimlico.
Curtis,

Lambert, Esq.

Darken and

St. Giles's,

Colsey, Messrs. Music

Norwich.

Warehouse, London

Street,

Norwich.

Dawes, Albert, Esq. -Organist of The Holy Trinity Church, Hastings.

Dimoline, Mr. A. Music Warehouse, Bristol.

Dixon,

Wm.

Esq. Organist, Grantham.

Duncan, James, Esq. Professor of the Pianoforte, Perth, N. B.

Dyer,

J.

Emery,

P. Esq. Organist, Warminster.

Jun. Esq. Professor of Music,

J.

High

Street,

Hanley.

Ennever and Co. Messrs. Soho Square.

Favarger, Rene, Esq.

Field,

Mr. George, Music Warehouse, Bath.

3 Copies.

Foulkes, William, Esq. Organist, Whitchurch, Salop.

Fowler, C. Esq. Professor of Music, Torquay.

French, Thomas, Esq.

2 Copies.

Gardner, C. Jun. Esq. Pimlico.

Gilbert, Messrs. S.

and T. Booksellers,

Gilbert, Bennett, Esq.

4, Copthall Buildings, City.

13, Berners Street.

Gilmore, Mr. George, Musicseller, Clones, Co. Tyrone.

Glover, Professor, Royal Irish Institution, College Street, Dublin.

Gordon, Sir Henry, Chelsea College.

Gough, James, Esq.

Green, William, Esq.
Griffiths,

37, Prospect Place, Hull, Yorkshire.

1,

Foley Place, Gloucester.

George R. Esq. Organist,

Grosvenor,

S.

St. Paul's,

Hammersmith.

Esq. Mus. Bac. Oxon. Organist, Dudley.

417

SUBSCRIPTION LIST.

W.

Hall, R.

Esq. Professor of Music, Hull.

Hamilton, Adams, and Co. Messrs. Paternoster Eow.

Hammond,

W.

Alfred

Esq, Organist of

St.

Mary's,

4 Copies.

Lombard

Street

Fox Lodge,

North Brixton.
Harcourt, Mr. T. Music Warehouse, Rochester.

Harraden, Messrs.

S.

Harris, Mr. Edwin,

and Co.

3,

Chapel Place, Poultry.

3 Copies.

Bradford, Yorkshire,

Harrison, John, Esq. Professor of Music, Deal.

Hayden, Henry, Esq. Professor of Music,

Haynes,

Wm.

Esq, Organist,

Abbey and

Leonard's.

St.

Trinity Churches, Malvern.

Hoist, Matthias von, Esq. Professor of Music, Worcester.

Hopkins,

Esq. Organist, Rochester

J.

Hopkinson, Mr. James,

Leeds.

Hopkinson, Mr. John, Pianoforte Manufacturer, Regent

Howard, The Honourable Miss, Oatlands Park,

Street,

London.

Surrey.

Howell, Miss, Professor of Music, Chippenham, Wilts.

Huchtin,

Madame

Hyde, Major T. C.

Inglis,

Madison, Wisconsin, United States, America.

Louise,

Twickenham, Middlesex.

S.

Mr. James, Music Warehouse, Greenock.

Jackson, Miss Monymia,

Onslow Square, Bromptonia, London.

Jackson, Mr. Musicseller, Bradford.

Jacob, F. K. Esq. Professor of Music,

St.

Leonard's-on-Sea.

Jewson, Frederick Bowen, Esq. London.

Jewson, Mr. Musicseller, Stockton-on-Tees.
Jones, Mr. C. 21, Soho Square.

Jungenfeld,

Anna

Fraeulein von,

King, Mr. H. Bookseller,

8,

Mayence.

Spring Street,

Hyde

Kinkee, F. Esq. Organist and Choir-master,

Kippax, Mr.

J. Retford.

Kraus, Conrad, Esq. Architect,

Kurtz, A. G. Esq.

Liverpool.

Mayence.

Park.

St. Paul's,

Knightsbridge

38, Sloane St.

SUBSCRIPTION LIST.

418

Longley, George, Esq. Organist of Fitzwilliam Street Church, Huddersfield.

Marie Agnese, Mademoiselle

la Scaur,

de I'Ordre de Saint Vincent de Paul, a Metz.

Marshall, James, Esq. Professor of Music, Full Street, Derby.

Martin, J. U. Esq. Organist, East Dereham.

Mason, Mr. Joseph, Music Warehouse, Glossop.

May, Miss, Professor of Music,

2 Copies.

Jersey.

Meller, Mr. Professor of Music, Blackburn.

Meller, Mr. Eichard, Huddersfield.

Mellor, Mr.

John H. Organist of Trinity Church, and Dealer

Pennsylvania, U.

S.

America.

Mellor, Mr. Charles C. Organist of St. James's

tJ. S.

in Pianofortes, Pittsburgh,

Church, Pittsburgh, Pennsylvania,

America.

Mellor, Mr. James, Dealer in Pianofortes, Wheeling, Virginia, U. S. America.

Mellor, Mr. Joseph S. Teacher of the Pianoforte, Wheeling, Virginia, U. S. America-.

Mellor, Mr. Levi, Pittsburgh, Pennsylvania, U. S. America.

Mellor, Mr. Samuel C. Pittsburgh, Pennsylvania, U. S. America.

Messiter, A. Esq. Organist, Worthing.

Monk,

W. H.

Esq. Glebe Field Houses, Stoke Newington

and King's College, Strand.

Moore, Messrs. John and Henry, Pianoforte Manufacturers, 104, Bishopsgate Street,
Within.

Moore, Mr.

J.

General Music Repository, Huddersfield.

Norbury, John^ Jun. Esq.

Norwood, Mr.

5,

Finsbury Square.

Professor of Music, Preston.

Nunn, R. Esq. Organist, Bury

St.

Edmunds.

Oakeley, H. S. Esq.
Ouseley, Sir Frederick A. Gore, Bart.

M.A. Mus. Doc.

Prsecentor of Hereford, and

Professor of Music in the University of Oxford.

Pearce, George, Esq.

Pau, Basses-Pyrenees.

Pech, Dr. James (e Coll. Nov. Oxon.), Pianist and Composer to the Countess of
Darnley,

St. Saviour's,

Paddington.

419

SUBSCRIPTION LIST.

Phillips, Messrs.

and Co.

George

21, Bernard Street,

Pickering, Mr. T.

and

Peninsular

1,

Oriental

Buildings,

and

Southampton.

Musicseller, Koyston.

Mayence.

Pietsch, Mademoiselle Thadea,

Pringle, George, R. G. Esq.

Professor of Music, Melbourne, Victoria.

Prior, George, Esq. Professor of Music, .Wantage.

Rhodes, Jeremiah, Esq. Organist, Pontefract.

Rhodes, John, Esq. Organist and Director of the Choir, Parish Church, Croydon.
Richards, Brinley, Esq.

Member

of the Royal

Academy

of Music, London.

Robinson, GeorgQ, Esq. Professor of Music, Gainsborough.

Roe, John, Esq. Pianoforte Tutor

52, Stanhope Street, N.

French Royal Families, Claremont;

the

to

W.

Rogers, J. Esq. Organist, Doncaster.

Russell, James, Esq.
Riist,

Mus. Bac. Oxon.

R. Anderson, Esq.

Sjyjred

Harmonic

4,

Great Marlborough

Street.

Society (The), Exeter Hall.

Salaman, Charles, Esq.

Salter,

Elford Barton, Topsham, Devon.

36,

Baker

Street.

Edward, Esq. Professor of Music,

St.

Andrews,

Fife.

Sapio, A. Esq. Professor of Music, Chester.

Savory, Douglas, Esq.

Esq.

Schnegelsberg.,

22,

Lower Lyon

Street,

New Town,

Southampton.

Chalcot Terrace, Primrose Hill.

Schoelcher, Victor, Esq.

Wellington Square, Chelsea.

Shargool, Edwin, Esq. Organist, Stafford.

Simms, E. Esq. Organist, Coventry.

Simpkin, Marshall, and Co. Messrs.

6 Copies.

Smith, Mr. Philip, Music Warehouse, Bristol.

Spark,

Edward

Steggall, Dr.

J.

3 Copies.

Esq. Bury, Lancashire.

27, Grafton Square, Clapham.

Stephens, Charles E. Esq.

2,Howley Place,

M^da

Hill,

W.

Stephenson, Mr. Professor of Music, Bishopton, Ripon.

Stirling, Miss, 1,

Stodart, Messrs.

Charlton Terrace, East India Road, Poplar.

W.

and Son,

1,

Golden Square,

W.

420

SUBSCRIPTION

W.

Stone, J. T. Esq. 40, Berners Street,

Stonex,

H. Esq.

LIST.

Organist, Great Yarmouth.

Suggate, Mr. Musicseller, Lowestoft.

Taylor, Edward,

Gresham

Esq

College.

Professor of Music, Gloucester.

Taylor, James, Esq.

Taylor, Mr. Musicseller,

The Quay,

Bristol.

Thurnam, Edward, Esq. Professor of Music, Eeigate,

Toms,

C J. Esq.

Professor of Music, Liverpool.

Turner, Mr. James, Stockport.

Turner, John, Esq. Professor of Music, Halifax.

Vernon, Madame, Tunbridge Wells.

Vincent, Charles J. Professor of Music, Sunderland.

Walker, Mrs.
Watts, Mr.

1,

Scroop Terrace, Cambridge.

J. Organist,

Ormskirk.

Weisbecker, Charles, Esq, 12, Connaught Terrace, Connaught Square.

Wetter, Conrad, Esq.

Wetter,

J.

67,

Myddelton Square, London.

Esq. Architect,

Wetter, Miss Madelina,

Wetter-Taillefer,

Wheatley, Mr.

Mayence.

Madame,

W. K.

Mayence,

Savannah, Georgia, United States, America.

Musicseller, Evesham.

Wheeler, R. B. Esq. Organist of

St.

Ann's Church, Wandsworth.

Winn, Mr. Thomas, Jun. Music Warehouse, Rochdale.

Wood, Samuel,

Esq. Professor of Music, Clitheroe.

Woodward, Mr.

Musicseller, Cheltenham.

Wornum, A. N.

Esq. Music Hall, Store Street, London.

Wrenshall,

W.

Wrighton, A.

Esq.

J.

6,

Esq.

Sandon Terrace, Upper Duke

Street, Liverpool.

Dundee, N. B.

Wrigley, Mr. F. Organist, Kettering

Wrigley, John, Esq. Professor of Music, Ardwick, Manchester.

Yeomans, A. Esq. Professor

of Music, Stourbridge.

ADDENDA TO SUBSCRIPTION

LIST

[Omitted hy Oversight).

Broadwood, Messrs. John and Sons,

Eeid, John, Esq.

William H.

Callcott, Esq. the Mall, Kensington,

Burkinyoung and Co. Messrs.

Calcutta.

The following Erratum has been kindly pointed

Page 140, line 9, instead of " John, William and

Stodart," omitting the name John.

out hy

Matthew

Mr. Robeet Stodaet.

Stodart," read "

Matthew and William