Page:A Dictionary of Music and Musicians vol 4.djvu/191

TROMBA MARINA. The number of staves in the shell is usually either five or seven: the joints are fortified internally, and sometimes externally also, with slips of cartridge paper or vellum. Three pine bars are glued transversely across the belly before it is glued to the outer edges of the shell. The belly is sometimes pierced with a rose. In some specimens the drum is constructed in two separate portions. In others, of later date, the bottom of the drum spreads out at the edges like the bell of a trumpet. The total length is usually somewhat less than six feet; some specimens are a few inches over that length.

The string is a very thick violoncello string, stretched over a peculiar bridge. This is of hard and close-grained wood, and rests firmly on the belly with the right foot only, upon which side the string bears with its whole weight. Properly, the bridge should be shaped something like a shoe, the heel being the right foot, the toe, the left. The left foot touches the belly lightly: and when the string is put in vibration this foot rattles rapidly on the belly, like an organ reed. To increase the tone, a thin metallic plate is sometimes attached to the foot, and some bridges have a mechanical apparatus for adjusting its tension.

The marine trumpet is played with a heavy violoncello bow, plentifully rosined. The open string is ordinarily tuned to CC: and when sounded with the bow, it yields a powerful note, of harsh and nasal character, something like an ft. wooden organ reed-pipe. Played by stopping in the ordinary way, the marine trumpet produces tones far less melodious than the bray of an ass. But this is not its legitimate use. It is properly played wholly in natural harmonics, .and by reference to the article, it will be seen how the following scale arises.

Rühlmann omits the three last notes from the scale: but the writer has seen them marked on several specimens. The facility with which the marine trumpet yields the natural harmonics is due to its single string and its lopsided bridge. Paganini's extraordinary effects in harmonics on a single string, were in fact produced by temporarily converting his violin into a small marine trumpet. As is well known, that clever player placed his single fourth string on the treble side of the bridge, screwing it up to a very high pitch, and leaving the bass foot of the bridge comparatively loose. He thus produced a powerful reedy tone, and obtained unlimited command over the harmonics. According to information procured by Rühlmann from Marienthal, the Trummscheidt will bear lowering to B♭ and raising to E♭, but no more. According to him, it can also be made to yield the notes D and F in the lower octave, though less distinctly. The nuns use the instrument in their choral singing. On the festivals of the church, and sometimes as a special compliment to a new-comer on her matriculation they jubilate upon four marine trumpets accompanied by drums; one takes a principal part, the others are seconds.

An inspection of the scale will explain how the marine trumpet became par excellence the Nonnen-geige: its scale corresponds with the female voice, with which its tone, resembling that of a clarinet, but more piercing and nasal, has something in common. Added to this it is extremely easy to play: the neck being rested on the breast or shoulder, and the string lightly touched with the thumb where the letters are marked on the neck, it yields its few notes with absolute accuracy. It was anciently used as a street instrument by mendicant musicians: and those who have heard it will agree with an ancient author that it sounds best at a distance. M. Jourdain, in a well-known passage in the comedy of the 'Bourgeois Gentilhomme' (1670), expresses a preference for it, thereby proclaiming his uncultivated taste. About the end of the 17th century the acoustical peculiarities of the Trummscheidt were the object of much investigation by the learned societies of England and France: the reader who desires to pursue the subject will find the necessary clues in Vidal and Hawkins. The name 'marine trumpet' (tromba marina) was probably given to the Trummscheidt on its introduction into Italy, on account of its external resemblance to the