•rf - FoMRHI

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semi-circular profile. To keep the cowl in position two slotted pieces of wood are nounted on the soundboard such that the cowl has to be sprung inwards to clip into place. A dose look at the painting will reveal a piece of gut between the tailpiece and cowling, necessary to prevent loss or diunage should the cowling fall off. Also it enables the player to adjust the strings whilst standing up without fear of loosing the cowl. FITTIIIX ÀND FINIS:: ss C:.e detail that must be added Ì3 a provision for attaching the strap necessary to secure the instrument whilst being played. This consists of two turned wooden buttons securely nounted in the soundbox end block3. The belt I have used is a plain leather guitar strap about 6 cm3 wide with an adjusting buckle and several button holes at each end (although the end connected near the handle should be kept short to avoid being caught up in the rotating crank). Fron another look at the painting it appears that there is no finish on the instrument what so ever, however it is likely that it would have been a basic wax finish to give it some kind of weather protection. On the reconstruction I used a thin coat of eggshell varnish to seal the rood and to provide a hard 3urface. This was then rubbed down with fine wire wool and finished off with beeswax and a good polish with a soft cloth. The overall effect is that of naturai wood but with a very subtle gloss and a pleasant feel. Nvxt the wheel ia rubbed with rosin and the strings can be fitted. 2 I have used gut viola strings throughout as suggested by Baines in his article in "Early Itosic". One point that did show up was that the "School" standard seen much better for the hurdy-gjrdy than the "Professional" standard strings. The thicker "School" 3trings «ere found to give a fuller les3 scratchy tono and seem to last a lot longer (since the wheel doe3 tend to act rather like a circular saw!). Also they cost substantially lesa. For the chanterelles I have used two "A" stringa tuned dc7/n a tone to G; for the trompette a D string tuned to either C or D; for the mouche a G string tuned to its correct pitch an octave below the chanterelles and for the grand bourdon a "C" striag tuned down to G two octaves below the chanterelles. At this stage the strings were not touching the wheel and the notches on the bridges were filed such that the strings barely rubbed on the edge of the wheel. Cotton wool was then spun on to the strings - IS-
where they pass over the wheel, the wheel was turned and more rosin added until the instrument began to sound. I found ti.at the chanterelles required leas cotton wool than the thicker stringa but the whole process of voicing is a case of trial and error and plenty of rosin. To position the tangents I calculated the theoretical positions using the "well tempered" scale interval of f2 . The results are shown in the table below: NOTE G* A 4 » B* BH Q* G* D4 E* Eh Fi» F* et' G*' AT' B>' B*' C*' NUT TO TANGENT LENGTH (Citi) 2.151 4.141 6.358 7.832 9.523 11.118 12.626 14.048 15.391 16.663 17.855 19.000 20.065 21.070 22.160 22.915 23.761 Other scales such a3 the "Just" scale or the "Fythagorian" scale could be utilised by calculating the correct Intervals and setting the tangente accordingly. A useful device is a strip of wood or cardboard with the tangent positions marked off f;om the nut fret. This can be used for changing the key of the instrument and ensuring that both tangents are set the sane. The strip can then be taped on to the inside of the lid of the tangent box for easy reference. Playing technique is fairly simple provided that the hurdy-gurdy is strapped on tight! The rig.it hand is used to crank the handle whilst the left presses the keys. Fingering on the left hand seems J
Page 1 and 2: •rf
Page 3 and 4: FELLOWSHIP of MAKERS and RESTORERS
Page 5 and 6: Bull.5. page 2 your colleagues. Als
Page 7 and 8: \ which can go f-40 or more. Bull.5
Page 9 and 10: i SI I ^ l ^ . - tr- DENZIL WRAIGHT
Page 11 and 12: list of members; 3rd sui.pl. p.l FE
Page 13 and 14: list of members, 3rd suppl. p.3 p.7
Page 15 and 16: of gut between a right hand drone s
Page 17 and 18: o and any dissonance becoraes very
Page 19: Fig. 6 End of Tailpiece go somewher
Page 23 and 24: FoMRHI Com. 32 BUSHIUO AS AH ALTK3H
Page 25 and 26: tant to bring the rod aa goickly as
Page 27 and 28: compression, thereby avoiding tensi
Page 29 and 30: The botanista and zoologista, when
Page 31 and 32: PRAETORIUS AND THE VIOLA BASTARDA D
Page 33 and 34: The styles of written music for the
Page 35 and 36: FoMRHI Com 38 PRAETORIUS AND ENGLIS
Page 37 and 38: There is some evidence indicating t
Page 39 and 40: -ol v lr\rll Low. 23 ON THE STRING
Page 41 and 42: B a ^^^^^^^^^^^" the existence of m
Page 43 and 44: BIBLIOGRAPHY 1. Milan, L. de El mae
Page 45 and 46: p0PTrVm ^utri. «f*. MUSEUMS, COMME
Page 47 and 48: Horniman wind instruments, p.2 p.76
Page 49 and 50: Horniman wind instruments, p.4 p.94
Page 51 and 52: Horniman wind instruments, p.6 p.lO
Page 53 and 54: The amount of information surviving

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