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- Harp
- Action of the Square Piano
A. Action Frame. B's Indicate the Cushions, or Bushing, of felt, cloth or leather. C. Balance Rail. D. Balance Pin. Round. E. Mortised Cap for Balance Pin. Bushed. F. Key. G. Lead. H. Back Check. I. Bottom or Key Rocker. J. Bottom Screws; used to regulate height of Jack. K. Jack. L. Jack Spring; concealed under Bottom. M. Center Pin to Jack. N. Hammer Rail. O. Regulating Screw. P. Regulating Button. Q. Flange Rail. R. Flange. Split. S. Flange Rail Screw. T. Flange Screw, to regulate jaws of flange. U. Hammer Butt. V. Center Pin. W. Hammer Stem or Shank. X. Hammer Head. Y. Hammer Felt. Treble hammers sometimes capped with buckskin in old instruments. - Action of the Grand Piano
1. Indicates the felt, cloth or leather, upon which the various parts of the action rest, or fall noiselessly. 2. Key. 3. Bottom; sometimes called Key Rocker. 4. Extension; split at lower end to receive center pin in Bottom. 5. Wippen Support. 6. Jack. 7. Jack Spring. 8. Flange and Regulating Rail. 9. Regulating Screw, Button and Cushion. 10. Escapement Lever. 11. Regulating Screw in Hammer Flange, for Escapement Lever. 12. Check Wire, for Escapement Lever. 13. Screw to regulate fall of Escapement Lever. 14. Lever Flange, screwed to Flange Rail. 15. Hammer Shank. 16. Hammer. 17. Back Check. 18. Damper Lever, leaded. 19. Damper Wire, screwed into upright. 20. Damper Wire Guide, fastened to Sound-Board. 21. Damper Head and Felt. 0. Center Pins. Holes lined with Bushing Cloth. - Upright Piano Action
Ky, is the Key in its resting position. c, wherever found, represents a cushion of felt or soft leather upon which the different parts of the action rest or come in contact with each other. Their purpose, as is readily seen, is that of rendering the action noiseless and easy of operation. Bnc R, shows the end of the balance rail, extending the entire length of the keyboard. B P, is the balance pin. This is a perfectly round pin driven firmly in the balance rail. The bottom of the hole in the key fits closely around the balance pin; at the top, it is the shape of a mortise, parallel with the key, which allows the key to move only in the direction intended. The mortise in the wooden cap on top of the key at this point is lined with bushing cloth which holds the key in position laterally, and prevents looseness and rattling, yet allows the key to move easily. - Queen Mary's Harp
This venerable instrument, the least impaired Gaelic Harp existing, is known as Queen Mary's Harp. It is small, being only 31 inches high and 18 inches from back to front. It was played resting upon the left knee and against the left shoulder of the performer, whose left hand touched the upper strings. The comb is from 2½ to 3¼ inches high. It is inserted obliquely in the sound chest, and projects about 14 inches. - Lamont Harp
The extreme length of the Lamont Harp is 38 inches, and the extreme width 18½ inches. The sound chest, as with other ancient harps, is hollowed out of one piece of wood, but the back has been in this instrument renewed, although probably a long time ago. The sound chest is 30 inches long, 4 inches in breadth at the top, and 17 at the bottom. The comb projects 15½ inches. The broken parts of the bow are held together by iron clamps. - The Burmese Soung
The harp (the Soung) shown in the illustration is a favourite Burmese instrument, and is chiefly used to accompany the voice: it is always played by young men. It also has thirteen strings, made of silk, and is tuned by the strings being pushed up or down on the handle. It would sound strange to our ears, as the Burmese scale is differently constructed from ours. Every learner of music knows, or ought to know, that our scale has the semi-tones between the third and fourth, and the seventh and eighth notes, which gives a smooth progression satisfactory to our ears; but the Burmese scale places the semi-tones between the second and third and the fifth and sixth, which is quite different and to us has not nearly such a pleasant effect. The Soung is held with the handle resting on the left arm of the performer, who touches the strings with his right hand. - Lute, Elizabethan
Lute, Elizabethan The lute was made of various sizes according to the purpose for which it was intended in performance. The treble-lute was of the smallest dimensions, and the bass-lute of the largest. The theorbo, or double-necked lute which appears to have come into use during the sixteenth century, had in addition to the strings situated over the finger-board a number of others running at the left side of the finger-board which could not be shortened by the fingers, and which produced the bass tones. The largest kinds of theorbo were the archlute and the chitarrone. - How to hold the Cello bow
The knuckles must not protrude in the least, the fingers also help by being allowed to bend easily at their middle joints, the upper phalanges having an almost horizontal position over the bow - How to hold the Cello
Most pupils are surprised I have no doubt, at the evident discrepancy seen in the plates usually published with 'cello schools, when compared with the manner in which our first class artists hold their instruments. - Four-course Cittern