James Talbot's Manuscript. (Christ Church Library Music MS 1187). I.

Wind
Instruments
Author(s): Anthony Baines
Source: The Galpin Society Journal , Mar., 1948, Vol. 1 (Mar., 1948), pp. 9-26
Published by: Galpin Society

Stable URL: https://www.jstor.org/stable/842118

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 ANTHONY BAINES

James Talbot's Manuscript

(CHRIST CHURCH LIBRARY MUSIC MS II87)

I. WIND INSTRUMENTS

T HERE can be few scholars and practitioners of music who have not
at some time felt a sense both of great thankfulness for the valuable
collection of music manuscripts possessed by the Christ Church
Library, Oxford, and also of deep gratitude to Henry Aldrich, Dean of
Christ Church from 1689 to 1711, who gathered them together and
put them there. It now appears that the historian of musical instru-
ments is himself no less indebted to Dean Aldrich inasmuch as Music
MS I I87-one of the few personal papers of the Dean which after his
death escaped the destruction ordered by the terms of his Will-has
recently been discovered to be a veritable mine of organological
information.*
This is all the more valuable since it dates from a period which has
hitherto failed to produce anything in the least comparable with the
mighty compendia of Praetorius and Mersenne. Over the 135 years
which elapsed between the latter's Harmonie Universelle and the 1767
supplement to Diderot's Encyclopidie, no comprehensive particulars of
the form and dimensions of instruments have been unearthed in the
literature of any European country. Yet it was during this same
interval that the old Praetorian assemblage of instruments was replaced
by the quite different set whlich characterizes the music of the eigh-
teenth century. Therefore this chance relic of the Dean's vast curiosity
into artistic matters, daging from exactly half-way through the obscure
period, cannot but be welcomed as a document of the greatest interest,
while in addition we shall surely feel particular pleasure that it brings
to us at least some secure knowledge of every instrument among
which Purcell, our most cherished musician, lived and worked.
The MS is a pile of uncollated papers among which a few, treating
with Greek theory, are in the handwriting of Dean Aldrich himself,
according to Mr W. G. Hiscock, M.A., the Librarian of Christ
Church. But the bulk of the MS (including all that relates to the
instruments) is in a different hand, and this identical with that of the
following letter which was discovered amongst the pile:

* I am indebted to Mr Robert Donington for introduction to this MS.

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 To Mr John Shore Present.
With a thousand thanks for yesterday's favor,
your Lute, Cornet & Fife, of which two last s
ordered me to set it down yesterday: be pleas
and to make such alterations in it as you think
hope will be on Thursday or Friday afternoon
oblige me in sending by the Bearer your Man
pieces with a crook.
I am with all gratitude,
Your faithful humble servant
J. TALBOT

The identity of this J. Talbot is disclo

British Museum (Add 28,88I dated 1697 a
same hand and this time signed in full: Ja
in Cambridge.
He was educated at Westminster School, m
Fellow of Trinity 1689, and was Regius
1689 to 1704.
With an intention yet to be discovered, h
the various instruments from well-known
John Shore, Finger and Paisible are to be f
Nearly all are in H. C. de Lafontaine's Th
departed from England in 1701, so that Tal
information before then and after 1685 (se
Owing to the fragmentary nature of his j
to collate the matter under the headings of
do this, reference letters will be adopted t
groups into which his notes fall, which are

Dimensions of instruments, given in feet

and eighth parts of an inch ("). Pages nu
20 X

Tablatures and tunings Y

General observations mixed up with
Praetorius, Mersenne and Kircher Z

The reliability of Talbot's facts can hardly be assess

known of his musical activities. But the numerous co
notes (they are so many that only final versions are g
cases) are at least evidence of his intention of recordi
method was also Mersenne's, and John Shore was to
Quiclet to the venerable Frenchman. Talbot's inconsist
punctuation and so on have been faithfully reproduc
IO

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 WIND INSTRUMENTS

His general arrangement of the Wind heads X; only tho

ments which have a page number after their names were m

rFrench 4 Treble a
HORN e-ENGLISH
EnglishOR Teno
WAITS Cura doubleB.
SSharp
Mettal 3.16
HAUT- HAUT- smgle
.Flat
TRUMPET BOX BOIS
4 FRENCH Tnor Treble
9
FRENCH Basson 10o
8
Cane Pedal or double Basson
Corn

PIPE
PIPE<Wooden
(rFrench
for Tabor 18
rench Sort
BAG-PIPE

FLAGEOLET 20 Scotch Sort

8th .2d Sort 16
5th rTreble 2
Treble 3d SCHALMEY-
Consort
Voice b3d 13 SHAWMS LTenor
Tenor 12
Bass II
Pedal or Double bass
FLUTE D ALLEMAGNE 7
FIFE

streight 5
F Treble

I Treble crooked
CORNET Tenor

SERPENT 6 Bass . BASS CROMHORNE

Tenor 17
SACKBUT"

LBass 17
ENGLISH HAUTBOIS

Xa. ENGLISH HAUTBOIS or WAITS TREBLE. Charter, Star & Gar

Street, Pickadilly.
Length (without Fliew & Reed) from Head to Bowl [corrected
lion] 2 f. i'6"
From Head to centre of ist hole, 3'7"ff; to 2nd, 3d, 4th, 5th
from 3rd to 4th, I'4"; from 6xth to 7th (oblique) I'+. Other H
made below (not for fingers) but Tuning to the proper Pitch.
II

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 Height of Fliew, I'I". Its Diametre at top, I'3".
Length of Brass Staple, 2'3" (whereof I'I"i inserted into the Bore of Instrt.
I'I" into Fliew.)
In the Fliew at top a Hole (4" dia. 2" deep) to open a way for the passage of
the Staple through the Reed: Dia. of Staple at top I/Io', at bottom 1/5'.
Length of Reed, I'i"I whereof 2" inserted into the Fliew's hole at top:
breadth at top 3"$. Dia. of reed at bottom I".
Dia. of head at Top, I'5": of its bore (into which Staple inserted) 2"1.
1)ia. of Ist & 2d & 7th hole, 2". 3d & 4th, 2"0. 5th & 6xth, 3".
Dia. of Pavillion, 3'5"+.
From 6xth hole to Ist tuning hole, 2'4": to the two next (oblique), 3'. Last
from the Ist Tuning hole to the 2 last (direct & opposite one above other)

This Instrt. I entire piece.

Y. ENGLISH HAUTBOIS. TREBLE. Mr Robinson, near St James Church
(CHALMIE) Waits Mr Banister.
[Tablature, c' to b", diatonic with B's t and ,. Six fingers give d'.]
XI. WAITS TENOR.
Length from Head to Bowl, 2f.5'6".
From Head to Centre of Ist hole, 6'; to 2d, I'5", to 3d & 6xth, 1.4; to 4th,
2.5; to 5th, 1.6; to 7th under Brass Key, 3-7.
Length of Ist Joynt, If.4'I", to Barrel ifjoynted (though generally entire).
Length of Barrell (moveable) tip'd with Brass at each end, full of holes,
4'I". Outside diametre of Barrel at each end, 2'I"; in middle, 2.3.
Length of Br. Key (with double handle) 4'.
From Barrel to each of the Sound holes at the Side opposited, 2'6".
Length of Fliew, 2'. Dia. at top, 2'; ofhole receiving reed 3" (whose depth 2").
Length of Reed, I'3"; breadth at top, 3"". Dia. below i"+; insertion, 2".
Length of Staple, 3'2", whereof I' inserted into head of Instrt. Dia. above
1/Io', below 2".
Dia. of head, 1.4"; of bore into which Staple [fits] 2"j.
Dia. of Ist hole bored oblique upwards, 2"; 2d & 3d oblique downwards,
2"+; 4th (obi. upwards) 2"'; 5th & 6xth (obl. downwards) 2"j. Thickness at
Holes, 2".
Dia. of Bowl [correctedfroin Pavillion] 3'3".
Dia. of Sound holes, -3".
Y. TENOR [to rpi.it of English Hautbois. Treble; see above].
[Tablature, f to g". There must be an error here since the lower octave starts
on f (six fingers, g) and the upper on g' (six fingers, a') while between them
the notef' is left without a fingering.]
SCHALMEY
X2. SCHALMEYE. Martin Wise
(Charter)
[?] Saxon used Much in German Army, etc. Sweeter than Hautbois. Several
sizes & pitches.
Length of IstJoynt (Tenor I'I") .. .. .. .. If. 2' 3'
,, 2d ,,.. .. .. .. Io o
210

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 Length of Fliew, I'7"; of brass Staple, passing through Fliew, 3' whereof I'
inserted into Head of Instrt; 3" into Reed. Length of Reed, I'2".
From Head of Instrt. to Ist hole, 4'7"; to 2d, 1.4"; to 3d, 1'2"; 4th, 2'4;
5th & 6xth, I'3.
At the head of 2d Joynt a Barrel (moveable) with 3 Knots of holes, its
length 2'6". Under the Barrel a 7th hole whose Diametre [-] distant from
the top of the Joynt 2'-"; this open which in the Tenor has a key to stop it,
in the Treble would add a Note if stopd.
From bottom of Barrel to little soundhole (direct under 7th) I'3", & to the
two larger on each side, from the little one, I'3".
Dia. of hole in Fliew by which the Reed passes over the Staple, 3"; of Fliew
at top, I'2"; of Brass Staple at top i", at bottom i"?.
Bre adth of reed at top, 2"j; dia. at bottom, I".
Dia. of Ist Joynt where Staple inserted, 2"j; at bottom of Tenor, 4"1; of
Bowl tip'd with Brass, 3'I"; of Ist, 2d, 3d Holes in Ist Joynt, "gj; of these
the Ist runs upward, the others downward.
Dia. of the 3 last [-].
Barrel tip'd with Brass at each end as is the head.
Dia. of 7th hole, 2"; the rest ad libitum.

Y. CHALMEYE TREBLE
SHAWM

[Tablature; the low b is penned in dots, thus agreeing with the a

about the 7th hole. Thence it runs from c' (six fingers) to c'" diato
B's ? and ?. To the right of it is:]
Fenor, having key to 7th Hole.
[Only the bottom note (7 fingers) is given, and this (in alto clef
g&f
FRENCH HAUTBOIS

X8. FRENCH HAUTBOIS/TREBLE (Bressan)

From head of Ist Joynt to Tennon [corr.from small
From head of 2dJt. o 8 31
Length of 3dJt. o 5 5

I 10 4

Length ofTennon of 2d stJoynt & cons. of s

2d ,, V)d. 3d. o
From head of Ist Joynt to Ist Hole, 5'2'"; to 2d, 1.1
Ist Jt, 2"; from beginning of 2d Jt. to 4th hole, I'6"1 (i
2'+). From 4th to 5th, I.I+; to 6xth, Ij"; to hole und
from 6xth to hole under little side key, 1.61; from gr
to sound hole in each side, 2'2"j.
Dia. of bore in Ist Jt, above 3"; below 4" of 2d Jt, below
I.71.
Dia. of Ist, 3d & 4th holes, I"'; of 2d i"j; of 5th, 6xth, 7th & 8th, I"'. Of
soundholes, 2"; distance between the little holes of the 3d & 4th Rank, 1";
Thickness of IstJt. above 2"J+; below I".
Breadth of Reed at Mouth, 3"; Length, 3'7" whereof 5"1 inserted. Dia. at
brass end, -2".

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Y. [Tablature, by Mr La Riche, chromatically from c' to c"' with two
interesting enharmonic distinctions, viz:]
fly: Key g"# a"f
Flat Sharp

X. 0

o 0

* 0 0 0

[x mean
Z. The p
French h
The reed
serve its
reason of
left hand
notes up
[Compas
compass
lively &
sounds as
X9. TENO
Length of Instrt. 2 9 6
Head to Ist Hole, 8'3"; to 2d, 1.3+;
to 6xth, 1.5; to 7th, 4'7"; from 6xth
Length of great key 5'`"; little key,
Dia. of Bore at head, 3"j; at bottom
Dia. of Ist & 3d holes, I"'; 2d & 4th
holes I"j.
Thickness I".

Y. [Merely gives its lowest note:] g (Mr Finger).

Z. Tenor Hautbois 4 notes lower; finger as Basson. The Tenor Hautbois differs
not from Treble in shape, only in size & bore of holes which being at greater
distance are bored more slantingly downwards that the tops may be covered
with the Fingers.
The Tenor I've seen is entire made by Ashbury.
BASSOON
XIo. BASSON

Length of Head (Cap) or Ist (highest) Joynt o II

of 2d or middle Joynt I 7 7
of 3d or lowerJt. I 6 o

4 1 3
Length of the 4th or side Jt having 3 holes &
at top for the Crook I 9 6

Length of Conveyance is 5 11 I
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 Length of upperTenon orjoynt f& Socket in 2d 1.51
lower T or joynt ~& Socket in 3d. 1.71
Tenon below in 4th Jt. & socket in 4th [3rd?] 1.51
Length of the Reed I'6"j; of the Brass (Crooked) into
which it is inserted o 2 21
Length of the Brass Crook whose small en
end into 4th Jt. 6" I 3 4
The six Ist holes bored obliquely for
Ist hole in the side Jt. from the top,
3rd & 4th hole (which begins the lowe

4'3"); to the 5th, I'; to the 6xth, I" [:]

from top of same Jt (behind) 5.51; to
7.2j (9th from bottom of 2d Jt, 4'1) to
to IIth under brass key 8';
Note that the 9th, Ioth & IIth holes ar
IIth by means of brass Keys at each end
Width of Reed 4"; Dia. of long Croo
Dia. of socket of Crook in side Jt, 5";
passes down the Ist Tube of the great
middle Joynt, whose dia. at the lower
as of the Cap or Ist Jt.
Dia. of the Ist, 2d, 3d holes, 2.1; 4th, 5

-3"; Ioth, 31; Ilth, 31. Thickness ofsi

jt, 3"; of middle jt, 2"; of cap at top, 4".

Y. [Fragmentary tablature embracing th

Below it is:]
Pedal or Double Basson. Mr Finger
FFF

Fagot & Double Courtaut 2. Tenor & Treble Courtaut

CC
Note that the fingering of the Basson, Pedal, & Double Courtaut &
is the same with that of the Flute.

Z. Pedal or Double Basson, FFF, touch as Basson.

Double Courtaut, CC, touch same with Basson: there are treble &
courtauts.

Fagot disused; touch same with Basson: CC same with Double C

Not used in Consort.
Basson has 4 Joynts, Fagot entire.
Best Reeds from Marshes of Spain and Provence.

DOUBLE COURTAUT

X14. DOUBLE COURTAUT

From the top of the Ist Conveyance where Crook is
inserted to its bottom I 10 6
Thence to the pavillion above 3 I 7

Whole length of Conveyance 4 o 3

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 Length of Plug at bottom covered with Brass I+
of Whole Instrument 3 2 7
From end of Pavillion to top of Ist Conveyance 3 71
From top of Ist Conveyance to Ist Hole (which runs
obliquely upwards, as does 4th) 10 5
From Ist to 2d & thence to 3d, i.21, as also from 4th t
From 3d to 4th, 7.2; from 6xth to 7th under Brass Key,
Br. Key, 6'7; These holes of Ist Conveyance.
From beginning of 2d Conveyance to 8th Hole (under
Length of Br. K. 4.4.
From 8th to 9th, 4'; to Ioth, io.I?+. N.B. These Holes
towards 2d Conveyance.
Dia. of Ist Conveyance where Crook inserted (increasin
Dia. of Pavillion, 1.31. Dia of Ist, 2d & 3d Holes, -2"; 4th,
of 7th, 8th & Ioth, 3"; 9th, 2"j.
Breadth of Instrt. at Pavillion, top 2.51; bottom, 2.1.
,, at Ist Conveyance, 3-1.
,, at bottom of Plug, 2.24.

Y. [To the right of English Hautbois, Treble and Tenor (see above) is written:]
Bass Double Courtaut Mr La Riche
[but the stave for the tablature is empty.]

FLUTE

X7. FLUTE D'ALLEMAGNE

Length of Ist (Head) Joynt to the zd, I 0 7
of 2d (middlejt) (without) 10 7
of3d (lowerjt) 4 I
of Instrt. 2 3 7

Length of Tenon of 2dJ

Length of lower Tenon
Distance of little soun
hole from the top, 0.4.
From Ist hole to 2d, 1.1
From 6xth to end of m
From top of 3d jt to t
Dia. of ist Jt. & of 2d a
of 2d Jt below & of
of 3d Jt below, 0.4.41
of mouth-hole in the
of Ist & 2d hole, 0.2
of 5th, -o.2; of 6xth
thickness of Wood.

Y. [The stave for the

Mr La Riche, is empty

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Z. FLUTE D'ALLEMAGNE
Bressan's Flute D'Allemagne has 6 notes in the middle Jt & one in the lowest
which is covered by a Brass Key. The upper Jt has one hole for the mouth,
about an Inch & half above this a cross piece of wood (or Plug) determines
the length of the long bore. From the Plugg to the mp about 4 inches. The
Brass Key is entire & has a small brass Spring under its upper end.

RECORDER

XI3. TREBLE FLUTE.

[Left blank.]

XI2. TENOR FLUTE. Bressan

Length of Head Joynt o 9 7
of 2ndJt (without) (middle) o io 61
of3dJt (Lower) o 6 6

2 3 31

of upper Tenon of2dJt o I 3

of lower Tenon o o 7
Distance of Tongue [superscribe
Length of Fliew [correctedfrom Ton
Width at top 5", at bottom 5"1 (as
Mouth]). Diametre of Mouth [correct
From beginning of2d Joynt to hole
between Ist & 2d & 3d as also betwee
4th, 2.1; between 6xth hole & end of
From beginning of 3rd Joynt to 7th
Length of Brass Key, 2'7"j.
Dia. of 2d Joynts bore above 7"1, bel
Dia. of hole below, 3"; of Ist, 2d, 3
2d Jt, i".

XII. BASS FLUTE. Bressan

Length of Cap (closed at top) o 5 I4
ofHeadJt (IstJt) I o 4
ofmiddleJt I 2 7
ofLowerJt I o 5
Length of upper Tenon of Is
,,,,,, ,, of 2nd Joynt
IstJoynts socket, O 2 0
,,,, lower Tennon of2dJoynt& cons. of 3rdJoy
Distance of Crook hool [hoop?] from t
,, of Tongue from top of IstJt o o 4
Length of Tongue at each side o I I +
at middle o I 21
Breadth at the top o o 6+
at bottom 0o o0 7
From top of 2d Joynt to Ist hole, 2'; th
4th, 4.3; to 5th, I-21; to 6xth I.I; to bott

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 to underhole I'+; from top of 3d Jt to hole under Brass Key 3.2; length of
Brass K. 4.5.
Dia. of Ist Joynts bore at both ends & consequently of Plug, 1.3 +; of 2d Jt,
above 1.21; below, I'+. 3d Joynt above & below, I'. Ist sound-hole from
bottom of 3d Joynt, 1.61. Dia. of Crookhole 4"3; of underhole in 2d Jt, 31;
of Ist, 4th & 7th, 3"; of 2d & 5th, 2"j; of 3d & 6xth, 2z"; of sound-hole
near the bottom, I'21. Thickness of 3dJoynt (Taper towds end) 1"j.

Y. Pitch of Flutes [notes which follow in square brackets appear in original on a

stave.]
Fifth higher [c"]. Eighth higher [f"]. Voice, Third lower [d']. Tenor,
5th [sic] lower [c']. Bass [F]. Double Bass [C].

CORNET

X5. CORNET. Mr Shore, streight of Box

Length of Instrt. without Mouthpiece I 10 4
Fom the top to the Ist hole underneath o 7 6
,,,,,, to Ist hole above o 8 7
From ist hole above to 2d, 1.3; to 3d, I
Thickness, I"-.
[Another series of figures is written above the preceding series (which is, how-
ever, not crossed out); this second series runs: 1.11.4; 8.7; 9.7; 1.2; 1.3; 1.3;
1.2; and thickness, I".]
Bore of mouthpiece, above, 5"; within, 2"; from above to within, 4".
Bore, above, 3"; at bottom, I'I".
Bore of Ist hole underneath, 2"+ & of Ist & 2d above;
of 3rd to 6xth, 2"1.

Y. [Tablature, by Mr Shore, chromatically from c' to f"'. Blank staves are

left for:]
Tenor Comet Bass Comet

Z. Best English Comets made at Doncaster in York

SERPENT

X6. SERPENT. Le Riche & Lewis.

Length of mouthpiece 2'2" (whereof I' inserted in crook) o I 2
,, of crook. If.3' (whereof 2' inserted in Head) I I o
,, of Instrt. 7 7 o
[inserted later:] at side 7 I 4
836
Distance of Ist Hole from Head of Instrt. 2 8 6
Distance between all the holes, I'4"; except from 3d to
IfE4'.
Dia. of mouthpiece at top, I'; within lower, 2"+; at bottom, 3".
Dia. of Crook at top, 4"; at bottom, 7'" increasing in
, Head's bore, I'; of bottom's bore, 3'7"' f bore downwards
Thickness, 1i".
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Y. [Tablature, Mr La Riche. The stave gives G', C, E, F, (bar line,) G, and the
rest is blank; nor are any fingerings given.]

Z. [Following a note on the lowest (falset) notes:]

These both unnatural to the Instrt. & unmusical to the Ear. The half-notes
are made by stopping half a hole. The best players (acc. to Mon. [?]) DD.
Mr La Riche GG: CC easy.
[Later in same:]
La Riche's Serpt's Body of Wallnut. Crook of Brass. Mouthpiece of Ivory.
Towards the last fold a brass loop to wch a Ring for a ribband is fastened.
(Lewis.)
SACKBUT
XI7. SACKBUTT. Bass
[The reference letters which follow refer to Mersenne's dr
Saquebute, and are subsequent interpolations in the MS.]
From top (B) of the inward Yard next mouthpiece to
beginning of outward Yard o 2 2
Thence to beginning of (F) ist Joynt of Crook [co
from Potence] 2 9 o
Thence to beginning of 2dJoynt (K) o io 6
,, to (D) end of outward Yard under Ist Barr 2 9 o
,, to (L) upper end of the inward yard whereof 7"
inserted into the separate Jt wch begins thereto 3 2 3
,, to the beginning ofJoynt of 2d Crook I 5 4
,, to beg. of the lastJt but one 9 I8
,, .d,, , ,,,,,, above the Pavillion
.,,, end of Pavillion I II 3
Length of Instrt. at shortest: 14 8 5
fIst finwd ( 2 8 7
Length of nd inwd yard from insertion i

Length with yards drawn out: 20 2 0

From next mouthpiece to Ist Barr (C) I Ij
Depth of all Barrs. 6
From Ist Barr to 2d (E) I 6
,, beginning of separateJt to 3d Barr (M) 6 I
Distance between yards (or Breadth of all Barrs) 3 5
Dia. of Yards 4
of Pavillion 4 3
The Tenor Sackbutt seem
to be about 4 f. shorter
Pavillion, 3'2".

Y. [Blank stave prepared

Sackbutt. Bass Treble Tenor
Mr Finger Mr Bull

Z. Chief use of Sackbutt here in England is in consort with our Waits or

English Hautbois. It was left off towards the latter end of K.Ch. 2d & gave
place to the Fr. Basson. Bull.

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 TRUMPETS

X3. TRUMPET
From top joyning to Mouthpiece to beginning of Ist Joynt
at middle of Garnish I 10 0
Thence to its end I 6
,, to beginning of2dJo
[correctedfromn Potence] 4 3
Length of 2d 5 4
Thence to 3d I 5 3
Length of 3d 2 4
Thence to 4th (or length of 2d Potence) 4 3
Length of 4th 4 4
Thence to 5th 7 2
Length of5th 4 61
Thence to bottom, or length of Pavillion Io 4
7 o 70
Length of single Mouthpiece inserted into the Instrt. or
Crook, 3.0; its whole length 4 4
Length of double Crook without any additio
One Inch inserted into Instrt.) I 2 6
This alone makes the Trumpet two Notes lower viz. fr
Crook, 7', adds one Note.
N.B. [repeats the above] (Bull)
Diametre of Instrt. towards mouthpiece (which continue
to the 5th) 4".
Dia. of Pavillion, wch lessens up to 5th, 4'2".
Dia. of Mouthpiece at top lessening inwards, 7".
at entrance of Wind, 2".
Mouthpiece or Crook may be lengthened by adding to either several pieces
married one into the other, which alters the Pitch.

Z. Yards & Pavillion turned on a rod. Boss in middle of Pavillion: Garnishes

over every joynt. Pitch may be raised or fallen by several Shanks from I' to
6'. Ist Yard runs through right side of Boss.
Best mettal Bastard-Brass mixed with solid Brass: Worse Silver & [inter-
polated above: worst] copper springy [i].
Garland put on to strengthen Pavillion. Garnish placed at the mouthpiece.
Bull.
[Later in same]
The natural pitch of the Trumpet is ?E which may be varied by crooks of
several lengths to D, C, B, ?B, ?A, Sh. [Shore ?]

Y. [Chart of open notes, from Mr Shore. b'V,f", a" and b"V shown in dots and
superscribed with anf, (falser)]

XI6. BULLS COPPER TRUMPET

Length of Ist Yard, 2.0.4; Ist Crook 7.6; 2nd Yard, I.II.0; 2nd Crook, 7.0;
Pavillion (outside dia. 4.2; Garland I.3), 2.0.6. [total] 7.3.0.
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 *

S2 3_6 7 8

4 5

FIG. I. Probable ou
measurements in th
ments of similar di
case original
I. English Hautbois
(treble shawm); 3
4. English Hautbois
Altpommer); 6. Scha
closing reed; 8. Sch
in playing order;
showing the re

Z. FLAT TRUMPET.
In a Flat Trumpet the mouthpiece stands oblique towards right. 2d Crook
placed near left Ear & by it you draw out the Inward yards, whereof one
reaches to the Boss of the Pavillion, the other to the Ist Crook: its size with
the yards shutt the same with common Trumpet.
The crook at one end is joynted to an additional yard which incloses the
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 fixed 2d yard from the joynt of the ist Crook to the beginning of the 2d:
at the other it is let into another shorter yard which is inserted into the
Pavillion Yard as far as the bottom of the Boss. Longer yd from bottom of
Ist Crook Garnish to its end, 23'2" besides i+ covered. Shorter from
[sentence unfinished].

X4. BOX TRUMPET

From top of Ist joynt whose Tennon I'I" to 2d. I 2 7
Length of 2d Joynt whose Tennon I.I I 10 0
of3d ,,,, ,, 1. 1 9 3
of4th ,, I.1 I 1 0
of Pavillion I I 5

707
Length of Mouthpiece (wh
Dia. of mouthpiece at mouth, 6"`; w
Dia. of Ist 2d & 3d Joynt, 4" of 4
below, 3'5".

FRENCH HORN
X4. FRENCH HORN
Length of Mouthpiece which is joynted to the Ist y
IstJoynt or yd, 3 I 5
2d. ,, 2 3 1
Pavillion 3 5 o

982
From top of mouthpiece to small passage, 7
Garland, 2'.
Dia. of mouthpiece, above, 6"?; below, 2".
Dia. of Pavillion, 7'2"-.
Z. French Horn from 8f. to I6f. Bull's is Iof. with Mouthpiece entire.
The ample information concerning Bagpipes must be held over for lack
of space.

REMARKS ON THE WIND INSTRUMENTS

From the linear dimensions of these one should be able to e
useful information regarding not only the pitches in use, but
methods employed by Waits and other wind music. But th
pretation of Dr Talbot's figures is no simple matter. He does
whether he took all the measurements himself, and indeed it
though two methods of measuring have been used, one b
normal one of measuring between hole centres, while the other
from the lower edge of one hole to the upper edge of the ne
If the wrong method is assumed by the investigator an error of
as a whole tone in an instrument's deduced pitch may be the
In the case of the English Hautbois Talbot writes 'to the centr

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first hole'. Certainly the centre-to-centre method seems to have been
used with these instruments, since an edge-to-edge reading puts the
6th hole of the Tenor Waits underneath the barrel, which is absurd.
On the other hand, centre-to-centre interpretation with the French
Hautbois not only contradicts the stated length of the upper joint, but
places the bell vent holes right on the lower tenon. I am here tenta-
tively assuming that the Waits (and possibly the Schalmey) were
measured from centre to centre, and all the other woodwind from edge
to edge of the finger holes.

ENGLISH HAUTBOIS OR WAITS

These instruments appear to be none other than the old

shawms of the sixteenth century (see Praetorius, Syntagm
of which Brussels Conservatoire Museum Nos. 2324 and
fect examples. A third Brussels specimen is illustrated in
of the Royal Military Exhibition (189o) P1. III B.
Assuming centre-to-centre measuring, the Treble Wai
with No. 2324 which came from the Barbieri collect
and is marked MELCHOR. Now six fingers on all thes
and in Praetorius, give e'. In Talbot's tablature it is d
backed by two authorities (including Mr Banister), w
known all there was to know about shawms.
This raises a multitude of questions. Was the upwards
of one tone, which Praetorius stated to be necessary
shawms (II 37) practised by the London waits? Or did the
a high organ pitche (Schmidt's Hampton Court organ wa
and his Durham organ a tone above the concert pitch of t
But if edge-to-edge measuring was practised at the Sta
in Swallow Street, the Treble Waits must have been a to
therefore not transposing. However, an objection to this
the case of the Tenor has already been mentioned.
The Tenor Waits is practically identical with Praetorius
(P1. XI 3) and Brussels No. 2325, again marked MELC
these cases six fingers give a. The Frankfort Historical M
sesses a specimen of the same kind but made in Tal
J. C. Denner.
We see under French Hautbois that the Waits resembled the Great
French Hautbois. These must have been the old dessus and taille d'Haut-
bois which played in Louis XIII's 'Douze Grand Hautbois', and were
described by Mersenne. They, too, were the same treble and tenor
shawms again, though Mersenne drew the treble without a fliew
(pirouette).
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SCHALMEY

The Treble Schalmey seems closely to resemble the slen

version of the shawm, which was still being made by Sch
after 1713 (see Nef, Catalogue of Basle Historical Museum
example of this design is an instrument by Haka of
formerly in the collection of Canon Galpin and illustrat
English Instruments (P1. XXXII 3). In addition to close ag
Talbot's Schalmey over linear dimensions, it has the sam
finger holes, brass ring round the bell, and keyless 7th h
barrel (the present key is not original; Brussels No.
another of the same type in its keyless condition). Six f
Haka instrument give c' at the old pitch, which agrees w
tablature. Its tone is indeed 'sweeter than the [English] Hau
unlike that of the oboe.
He omitted details of the Tenor Schalmey, but examples
at Brussels. But he is the only known writer to distinguis
two builds of shawms which we now see in museums.
FRENCH HAUTBOIS

This is the true oboe. No oboes or tenor oboes by B

known. For John Ashbury, Major Hautboy to the Foo
manufacturer of false teeth, see Lyndesay G. Langwi
Review, VII, 88, where Ashbury's captivating trade card is
Talbot mentions no crook for the tenor oboe, but perh
reed as long as his oboe reed it would not require one.
tenor by Gedney (mid-eighteenth century) is in the Bost
BASSOON

Three-keyed bassoon. The measurement of the tenor (fou

seems to include its tenon.
If the Double Basson was a jointed instrument like the Bass
opposed to the one-piece Quart-Fagotte, etc.) this is the earli
record of a true bassoon deeper than the ordinary. It w
resembled the Double Bassoon in G by Samme, 1851 (R.C
tion), also descending to F'.
DOUBLE COURTAUT

This is not a bassoon, as is the Double Curtaille describ

Holme (before 1688; see Langwill, Musical Times, April 1
old two-keyed 'dulcian' or Chorist-fagott, made in one pie
to C, and still prominently featured in the works of Bu
and other German composers of that era.
There must be a mistake in Talbot's first three figures.
first should read 2.Io.6, and the whole length of conveyan
makes sense with the rest and with surviving specimens.

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FLUTE D ALLEMAGNE

Talbot's dimensions are here particularly hard to

cf Galpin, Old English Instruments, P1. XXXI 2. The little
the Istjoynt requires explanation.
CORNET

A straight but not mute comet (see Praetorius, P1. VIII 8)

according to the tablature, a third above the classic come
which the bottom note was a. The Germans were still using
in Talbot's time (Speer, Grund-richtiger Unterricht, 1687),
French cornets among the surviving specimens seem to be bu
higher pitch, to which Talbot's dimensions roughly agree, th
at the 'concert' pitch (the German Cammerton, about a semit
modern pitch).
BASS SACKBUTT

Crook here means U-bend; Mersenne called this

Separate Yard is the whole bell joint. In the figure
included the length of the slide a third time, so that his
at shortest must be reduced to 1.o10.4 or 1421 ins. He m
of 8 : 11 to the Tenor Sackbut. This ratio (almost equal
perfect fourth) happens to be that existing betwe
trumpets crooked a fourth apart. Now 8/II of 1421 is
exactly the tube length of Canon Galpin's Tenor Sackb
1557), which stands in C nearly a semitone below
Therefore Talbot's Bass was a fourth lower, i.e. in G
pitch of his day.
But the presence of low Cs in the bass trombone par
and Locke suggests (since Talbot mentions no crooks) th
so have been considered an F Bass, either because it was
pitch organs or because it played bass in wind bands w
a tone up automatically.
TRUMPETS

Bull would beWilliam Bull, the most celebrated Londo

brass instruments of that time (see Langwill, The Music R
89). There is a Bull trumpet in the London Museum and a
Carse Memorial Collection at the Horniman Museum.
The Flat Trumpet has hitherto been a complete mystery,
description shows that it was not unlike the common nin
tury English Slide Trumpet whose invention is attributed
1804. Three Slide Trumpets exist bearing the name of Jo
London (see Langwill, op. cit., 91). Mr W. F. H. Blandfo
that Harris may have been Bull's successor in business,
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 -. 1-& I 1 dM,,i1 1 '- U i II

If.2' If.I' 9' I0'2" 4' 2'4" If.I.2 8'.2 6'6 2'

8'4" 4.6 2.6 6.4 I' 5.6 2.6 1.2

2'6" 2.2 1.4 6"

FIG. 2. Scale of notes fo
siders that the slides on
teenth-century additions
With regard to its musi
by Mr Finger in 1691 (G
(Harl. MS 7340, f. 521) is
'. . sung at the funera
panied with flat Mour
Purcell; in honour to w
formed the year follo
Abbey.'
The funeral marches used on the same occasion are printed and dis-
cussed by W. Barclay Squire in SIMG, IV (1904).
No sooner is the Flat Trumpet revealed than we are confronted with
the mystery of the Box Trumpet. It was clearly made of boxwood
because Talbot only used the word tenon in connection with thejointed
woodwind. It has the same length of tubing as his common trumpet.
FRENCH HORN

The details are disappointingly meagre, though not with

9 ft. 81 in. corresponds to about B flat alto, a pitch foun
horns of the late seventeenth century (see Carse, Musical
ments, 214). Wm. Bull's horn of 1699 (Carse Collect
modern pitch. But the words 'from 8 f. to 16 f.' confirm
of scores that horns were even then available in a number
use in the orchestra and band.
With these brief remarks and the expression of my ind
Mr Donington and Mr Hiscock, I will leave Dr Talbot's w
ments to the expert attention of the members of this Soc
specialists' knowledge will, I hope, probe more deep
information offered by this remarkable document.
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