The family tree of stringed musical instruments reaches far into the past. The orchestral instrumentation everyone recognizes today did not emerge fully fledged in the 18th century, but developed over time and across cultures. Their earliest ancestors were often plucked or hammered, and the adoption of the horsehair bow expanded those capabilities. The bowed psaltery is a relative newcomer, and produces its own unique, ethereal sound.
The sounds they produce often remind listeners of harp music, with the added tonality of a dulcimer and violin. Some Biblical passages mention the instrument by name, but that was a result of translators seeking to popularize ancient texts, not a verbatim description. It is true that psalteries originated partially in the Middle East, but they are now grouped with other members of he chordophone family.
Chordophones include any instrument with strings and a resonator, or sounding board. They are integral to modern musical expression and composition, and are featured in nearly all orchestral music. Chordophones can be amplified, and most have chromatic playing capabilities. The psalteries used by Renaissance musicians were chromatically limited, however, and usage dwindled.
They did not disappear altogether, but evolved into different forms. Their musical DNA can be found in hammered dulcimers and other progeny, including harpsichords with keyboards and plucked strings, later to become the modern piano. Although adding a keyboard produced obvious advantages of expression, people today still find the simple, original tones appealing.
The current shapes, sizes, and playing techniques emerged fairly recently. Popular history places the birth of the modern version in Germany over a century ago, but the true beginnings probably have no specific date. The addition of a horsehair bow separates ancient instruments from modern, and their design makes playing one comparatively uncomplicated. The sounds are medieval, but the mechanisms are modern.
Twenty-first century versions are shaped a little like a science-fiction space cruiser, in the form of a long, narrow isosceles triangle. They are available in soprano and alto formats, and both are less than 24 inches long. The soprano version has a higher and brighter tonality, while the alto is somewhat darker, with a chromatic capability that extends the lower range. Both are portable and personal.
Playing a violin can be difficult because good technique usually takes years of practice, but not a psaltery. It possesses two distinct sides, with spaced string pegs representing the black keys of a piano on the left, with corresponding white key spaces on the right side. Written music does not necessarily have to use standard notation, but can simply designate bow spaces.
When the bow is placed between pegs and slowly drawn across tuned strings, the results can be lovely. Musicians can play from either side, not just from the highest point of the strings. There is not a specifically wrong way to hold one, and many players simply lay them on a table, or cradle them in their laps. There is a growing body of sheet music and psaltery sound-bites on line for those interested in honing their skills.
The sounds they produce often remind listeners of harp music, with the added tonality of a dulcimer and violin. Some Biblical passages mention the instrument by name, but that was a result of translators seeking to popularize ancient texts, not a verbatim description. It is true that psalteries originated partially in the Middle East, but they are now grouped with other members of he chordophone family.
Chordophones include any instrument with strings and a resonator, or sounding board. They are integral to modern musical expression and composition, and are featured in nearly all orchestral music. Chordophones can be amplified, and most have chromatic playing capabilities. The psalteries used by Renaissance musicians were chromatically limited, however, and usage dwindled.
They did not disappear altogether, but evolved into different forms. Their musical DNA can be found in hammered dulcimers and other progeny, including harpsichords with keyboards and plucked strings, later to become the modern piano. Although adding a keyboard produced obvious advantages of expression, people today still find the simple, original tones appealing.
The current shapes, sizes, and playing techniques emerged fairly recently. Popular history places the birth of the modern version in Germany over a century ago, but the true beginnings probably have no specific date. The addition of a horsehair bow separates ancient instruments from modern, and their design makes playing one comparatively uncomplicated. The sounds are medieval, but the mechanisms are modern.
Twenty-first century versions are shaped a little like a science-fiction space cruiser, in the form of a long, narrow isosceles triangle. They are available in soprano and alto formats, and both are less than 24 inches long. The soprano version has a higher and brighter tonality, while the alto is somewhat darker, with a chromatic capability that extends the lower range. Both are portable and personal.
Playing a violin can be difficult because good technique usually takes years of practice, but not a psaltery. It possesses two distinct sides, with spaced string pegs representing the black keys of a piano on the left, with corresponding white key spaces on the right side. Written music does not necessarily have to use standard notation, but can simply designate bow spaces.
When the bow is placed between pegs and slowly drawn across tuned strings, the results can be lovely. Musicians can play from either side, not just from the highest point of the strings. There is not a specifically wrong way to hold one, and many players simply lay them on a table, or cradle them in their laps. There is a growing body of sheet music and psaltery sound-bites on line for those interested in honing their skills.
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