CHAPTER 3: History to 1800
3.5 The Baroque, Rococo and Classical Periods 1600-1800
3.5.1 The west
1.2. Higher cultures in the 17th & 18th centuries: Romance language-area
Documentary evidence: 2 of 14
[p.128]
Very much more informative is the account of the psalterion in the Harmonie Universelle (1636 etc) of Father Marin Mersenne - scientist, mathematician and physicist; indeed so comprehensive is his treatment that having quoted him in full there sometimes seems very little left to be said about the instrument. His work is chiefly concerned with construction, and includes detailed tables of string gauges, both wire and gut, discussion of the precise thickness of a good soundboard and so on; yet he devotes some 1,000 words to the psalterion, quite the most of anyone until recent times, covering bridging, stringing, tuning, temperament, playing techniques and repertoire, including a little of what he saw as its history. He even mentions a current controversy - apparently still not settled today about the nebel of the Scriptures. He writes very enthusiastically about its many advantages, in a manner surprisingly reminiscent of late-Victorian advertising slogans, after saying that the instrument is ideal for those with little time to spend, yet capable of much pleasure when diligently perfected; he concludes with a little aside, apparently aimed at his detractors. The summary headings are mine, added for ease of reference since the various aspects are not structured, but are, rather, "cheek by jowl".
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Almost every paragraph warrants comment, but we will limit ourselves chiefly to those points which Mersnne was the first to mention. The first remarkable point is about tuning each course in fifths or fifteenths: it is not clear that such tunings were actually used, since Mersenne says "on en pourroit adiouter d'autres", 'others could be added', implying a prescription rather than a description; the author has tuned a dulcimer thus and the effect is certainly very striking, much as a mixture stop on an organ, but rather more powerful - an analogy with a hurdy-gurdy tuned in fifths might be more appropriate - and certainly the thought of trying to blend in ensemble with such sounds is daunting.
Mersenne's description and illustration of the little bass bridge on the left-hand side is the earliest to which an indisputable date can be ascribed, other examples being on surviving instruments: but one of the most amazing points is the extent to which Mersenne describes tiny detail, even to the little hook on the top of the tuning key, used to make the loop for the hitching end of the string. The little jumps which the hammer makes are not elsewhere so described, yet they fit exactly the styles of several living traditions, notably those of Scotland and America, in which tremolo, short or long, is a characteristic. Hebenstreit, discussed below, is usually given the credit for having been the first to enlarge the dulcimer above its normal size of three feet or so, but Mersenne already speaks of psalterions having strings as long as those of the largest harpsichords: no examples, illustrations, or even other descriptions of such instruments have survived, but even if they were exceptional, it appears that they had been tried. The use of steel strings for the treble notes and brass for the basses is first mentioned here, and is still preferred by many players when brass is available, particularly in East Anglia, and in Persia.
Mersenne's remarks on the use of the hammers are particularly interesting: he seems to assume that a single melodic line requires only a single hammer and that two hammers only become necessary when two parts in harmony are to be played - nowadays a pair of hammers is alternated for fluency. The idea of playing chords with one hand - very seldom used nowadays - was mentioned by Cellier in 1585, but the notion of combining one hand plucked with one hand struck seems to have been Mersenne's own: certainly it is never heard again, until rather recently, for Billy Bennington of Barford, Norfolk, uses the technique to simulate a mandolin (plucked) accompanied by a piano (hit).
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The instrument portrayed in the figure has been described in recent times as bridgeless, but from the later reference to extra bridges across the body, it seems that Mersenne was simplifying his drawing for the sake of understanding, and that in reality the treble bridge did divide the strings as normal: only if this were the case, would the cut-out portions in the treble bridge be needed and would the little single bass bridge B need to be separated from the treble bridge; although this lowest string could sound a fourth below its neighbour because of greater mass or tension, it seems on balance more likely to be because of increased length. Nevertheless, the fact of the bass bridge being solid cannot be explained away, except by omission or because it was not thought necessary to give every detail: if the two bridges shown were treble and bass, then the treble strings would normally pass through the bass bridge and it would need cut-outs similar to those of the treble bridge; to put it another way, there is no bridging system which combines a solid bass bridge and a treble bridge with cut-outs. Such a system would produce planes as in fig. 74 and since the bass strings are not accessible, provides no more notes for a given size of instrument than does a single treble bridge.
fig. 74: showing how
bass strings would be inaccessible if the treble strings may not pass through
the bass bridge; and how such a system would porduce no more notes than a
single treble bridge
Another innovation attributed to Hebenstreit was the introduction of gut strings, but Mersenne describes both these and silk strings, although he gives no indication of the currency of such.
The last point is a little puzzling, about the instrument fitting into a poche: Kastner (1852) apparently assumed Mersenne to have meant pocket, for he concluded that the instrument must have been rather small, but it is just possible that the Father was referring to some kind of pouch. Attempts to consult a costume expert have yet to prove fruitful.
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