Fig. 3.
In [Kircher’s harp], the older form, the screen fits into a window, the instrument is hung on an iron rod, and has a great many strings stretched over broad sound-holes. The case is freely perforated, and is hung so as to half overlap the aperture which gives admittance to the air.
Fig. 4.
Kircher for a long time had the credit of being the inventor of the Æolian harp, but it is of much earlier date. It is, in truth, a very obvious contrivance, easily made, and not susceptible of much improvement. In our last [figure] we give its latest form, which differs from the others only in the arrangement of the screens. These are devised to throw a strong draught on to the strings, without having to be fitted into a window frame; but in this, as in all the other forms of the wind harp, it requires a pretty strong breeze to bring out its full tone.
CHAPTER L.—THE PENNY WHISTLE, AND HOW TO PLAY IT.
By W. J. Gordon.
The best penny whistles are tuned in D, and we shall assume that ours is so. Occasionally, however, they are in a different key, but this does not alter the fingering, as the intervals are the same, and the same air will be played with the same stopping. There are six holes, which, commencing from the mouthpiece end, we will number 1, 2, 3, 4, 5, and 6. Of these holes, 1, 2, and 3 should be worked by the fingers of the left hand; 4, 5, and 6 by those of the right.
The lowest note of the instrument is sounded when all the holes are stopped—the reason, of course, being that the vibration takes place along its whole length. To get this note is, however, not easy, as there is a great tendency to blow too strongly, and so get into overtones. ‘The very gentlest breath will give the dulcet note we seek.’ Having got the D, and it must be a good full note, unstop 6, so as to keep only 1, 2, 3, 4, and 5 shut, and you will with the same strength of wind sound E, the note that comes just above it in the scale.