Nancy Dawson and the Rights of Man

18 August 202618 August 2026 Cary KarpLeave a comment

This post’s banner image shows a tune in the third volume of the collection, Caledonian Country Dances, published in London by John Walsh circa 1740. The copy from which it was taken was given to Queen Charlotte of England on her birthday in 1773. In preparation, someone apparently felt it prudent to alter the first letter of the tune’s name (where ſs = ss).

The same tune appears in a Welsh manuscript collection of fiddle tunes from 1752. Its title can be traced back to a compilation of English proverbs from 1678, where it is preceded by, “He that’s afraid of every nettle, must not…”

Several texts have been set to this melody. I learned it as the children’s tune, Here We Go Round the Mulberry Bush, likely not long from when a musical instrument was first placed in my hands (an autoharp, when I was five). Whatever label it bears, comparing successive versions provides useful clues about how the ornamentation of such tunes evolved from the middle of the 18th century. This ones simplicity also makes it a good starting point for testing how traditional Irish ornaments might be played on instruments where there are no established approaches to their use.

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Musical Instruments

Pop’s two harps

21 July 202621 July 2026 Cary KarpLeave a comment

The oldest recognized recording of an autoharp was made in New York City in September 1924, for a 78 RPM disc that was never released. It was re-recorded in January of the following year and distributed a few months later. On each side, Ernest V. Stoneman alternates between the vocal rendition of a song and playing it on a harmonica, accompanying himself on an autoharp throughout.

This disc has the additional distinction of being the first recording of country music to attain hit status. Some estimates judge it to have sold over a million copies within a year after its release. This called widespread popular attention to Stoneman’s pairing of the autoharp and mouthharp, as well as setting a precedent for the subsequent use of that combination, exemplified below.

The development of the autoharp as a melody instrument is also examined here. As described in the US patent issued for it in 1882, “the instrument may be used for accompaniment to the voice or another musical instrument, or the melody may be played at the same time with the accompaniment, as on any other harp.” Lesser known early recordings of the autoharp in melodic use are presented, along with more recent ones.

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Musical Instruments

Irish music on double-strung instruments

7 July 202614 August 2026 Cary KarpLeave a comment

A recent four-part series produced by the Irish national television channel TG4, Blas Bluegrass, documents the popularity there of American old-time and bluegrass music. A scene in the first episode (starting at 17m 55s) is devoted to the late Chris Twomey, an Irish singer and multi-instrumentalist who became a noteworthy exponent of the autoharp. The clip shows one such of his instruments in a display case at The Corner House pub in Cork City.

The series is presented by Enda Scahill, one of the country’s leading tenor banjo and mandolin players. I’m as interested in those instruments as in the autoharp, all of which appear in the series. An earlier post discusses a crackpot combined autoharp-banjo patented in the US in 1892. The preceding three posts (aggregated here) deal with a widely manufactured hybrid banjo mandolin rooted in a US patent issued in August 1882 — just three months after the US patent for the autoharp. The present text takes a look at the musical proximity of the autoharp and mandolin, segueing into its discussion with a few additional background details.

This post’s banner image shows a large chromatically tuned autoharp with 21 bars, built in Sweden circa 1898 (Photo: Scenkonstmuseet, cat. no. M4011 — under my curatorial care at the precursor Swedish National Music Museum for over 20 years). The upper 66 of its 73 strings are tuned as unison pairs, also termed double-strung courses. The distance between the strings in each pair is smaller than the distance separating adjacent courses. In zither parlance this is termed mandolin-style stringing.

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Musical Instruments

The 4-string banjolin

16 June 202619 July 2026 Cary KarpLeave a comment

This is the final installment in a discussion about the banjo mandolin (aka mandolin banjo depending on the musical context). It is anchored in two independent US patents, from 1882 and 1885. The latter was issued to John Farris, who named his variant a banjolin. Both patents are detailed in the first part of this series along with the instrument’s initial commercial manifestations.

It entered into the realm of Irish traditional dance music early on, and the second part examines how its use there ultimately abated. The present text deals with a 4-string form of the instrument, briefly noted previously, and looks into a tutorial manual specifically for it. That book does not directly address Irish-style performance, but provides a relevant description of the instrument’s technical capabilities, including practical details about its setup.

By the end of the 19th century, banjo mandolins were available from several manufacturers. It was “to all intents and purposes a mandolin, being strung and fretted to the exact mandolin scale” but with the body of a small banjo. Farris’s design fits that description, with eight strings arranged in unison pairs. His patent was issued on 7 April 1885 (US315135) and he advertised the new instrument shortly thereafter in The Hartford County Directory for 1885–86.

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Musical Instruments

Banjolins, taterbugs, and bouzoukis

2 June 20261 July 2026 Cary KarpLeave a comment

The preceding post examined early audible evidence of the mandolin in the performance of Irish traditional music (ITM). The first attested association is on two wax cylinders recorded ca. 1905. Each begins with an announcement of the tune being “played on the violin, mandolin, and fife, by Messrs. Cronin, Kiley, and O’Neill.” The post then considered the richer subsequent evidence of the banjo mandolin in the same musical environment and concluded that Thomas Kiley played that type of mandolin on the recordings.

The present text continues with an identical situation just over a half century later. On the occasion of the National Festival of Traditional Irish Music and Song (Fleadh Cheoil na hÉireann) in Dungarvan, Co. Waterford, in 1957, Frank Wisenor was recorded playing several tunes on what was announced as a mandolin. Four of them were in a small group and two solo.

The way the recordings were announced suggests that they were of entries in the All-Ireland Championship competition held at the Fleadh. Snippets from all can be heard here. A solo performance of the reel, The Sligo Maid, indicates with particular clarity that Wisenor was playing a banjo mandolin.

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Musical Instruments

The Connemara Fiddle

19 May 20261 July 2026 Cary KarpLeave a comment

Francis O’Neill provided detailed biographical information about the contributors to his collections of Irish traditional music, in a book titled Irish Minstrels and Musicians, published in 1913. The fiddler Edward Cronin was one of the more prolific of them. He was a native of County Tipperary, born about 1838, who emigrated to Troy, New York, before settling in Chicago. With reference to Cronin’s residence there, O’Neill observed that:

Visits to his home were fraught with pleasure, especially when he played in concert with two young friends from Troy – Patrick Clancy on the flute and Thomas F. Kiley on the mandolin. Clancy, Mrs. Cronin’s nephew, possessed a most wonderful voice, powerful and mellow, and to our unscientific ear the most delightful we had ever heard. On the violin the genial “Tom” Kiley swung the bow with a freedom which many professionals might envy. “The Connemara Fiddle,” as we facetiously termed the mandolin, was his favorite instrument, however. In playing Irish dance music he displayed a facility of execution almost inconceivable. To him “The Flogging Reel,” a lively, three-part dance tune, with its turns and graces, presented no more difficulties than “Home, Sweet Home.”

Kiley’s use of the mandolin is also attested prior to the publication of this chronicle. Spoken introductions on two wax cylinder recordings announce that the tune is “played on the violin, mandolin, and fife, by Messrs. Cronin, Kiley, and O’Neill.” The date of those recordings makes them the earliest association of the mandolin with Irish traditional music that has yet come to light.

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Musical Instruments

The Midway Plaisance

14 April 202616 April 2026 Cary KarpLeave a comment

This post bridges the favorite topics here of Irish traditional music (ITM) and the autoharp. Two links will be considered, both geographical, but of vastly different extents. The more compact of the two spans a part of South Chicago and is mapped in the banner image. It was regularly traversed by Francis O’Neill, whose seminal collections of Irish dance tunes are well known in ITM circles.

His work is perhaps less immediately familiar to autoharp folks but any who play such music are likely to have material from O’Neill’s The Dance Music of Ireland, published in 1907, somewhere in their repertoires. There is no basis for suggesting that he had a reciprocal interest in the autoharp. However, he was involved with the Chicago World’s Fair held in 1893 and would all but certainly have noted the display of autoharps there (detailed in an earlier post).

The present text is not intended to inflate the significance of that encounter. From the autoharp perspective, the aim is to whet further interest in O’Neill’s work. Where his monumental role is already recognized, a bit of biographical and contextual detail is added to its discussion.

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Musical Instruments

Fingerpick nostalgia

24 March 202631 July 2026 Cary KarpLeave a comment

This year will see the fifth anniversary of fretless zithers becoming a major focus of this blog. The upbeat was in March 2021, when I most recently took my trusty 12-bar Oscar Schmidt autoharp back into service after a period of inactivity. This was far from this first time that happened since 1952, when my mother bought it brand new to share with her five-year-old kid.

The reason for the most recent dusting-off was a rekindled interest in Irish traditional music (ITM) that has grown in intensity ever since. One of the thoughts at its outset was to become proficient on the tenor banjo; a mainstay in the performance of dance tunes. My maternal grandfather gave me a four-string banjo mandolin (described in a separate post) not long after the autoharp joined the family. I immediately turned my attention to it, but didn’t acquire any particular skill beyond playing chords, before moving on to its five-stringed cousin when I was eleven.

A lesson learned early in the ITM project was that my hands had aged enough in the meanwhile to protest at more than the briefest outing on either the tenor or five-string banjo. (The even wider neck of a guitar excluded it entirely as an alternative, but a more recent reacquaintance with a mandolin has raised hope that it may prove tractable.) Fortunately, there was no corresponding issue with the autoharp. When embarking on what appeared likely to become a protracted involvement, I replaced the serviceable but worn fingerpicks long since acquired primarily for bluegrass banjo, with a fresh set for the new initiative.

I noted that the once dominant brand of metal fingerpick, National, was no longer in production. However, the extensive array of comparable picks made by Dunlop included a model that seemed satisfactorily close to the earlier Nationals. It was (and remains) available in both brass and nickel silver, in six gauges from .013″ to .025″, making it ideal for zeroing in on a set personally calibrated to an autoharp. (The broader exercise included plastic picks but I ended up sticking with metal and am keeping the present discussion mainly to it.)

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Musical Instruments

Grilled autoharps

24 February 202614 March 2026 Cary KarpLeave a comment

A lot of material about Charles F. Zimmermann has appeared on this blog. The present post revisits familiar documents but addresses details in them that have not received much attention here or elsewhere. In introductory review, Zimmermann coined the term “autoharp” in an application for a US patent headed “Harp,” filed on 10 December 1881, and issued as US257808 on 9 May 1882.

In it he claims to “have invented certain new and useful Improvements in Harps.” The ensuing description provides information not just about the instrument’s structural details, but also the intended playing technique. Zimmermann explains all aspects of his invention by reference to a (pedal) harp, except for its size and shape which are compared to a “common zither.”

The patent makes four specific claims, all relating to damping bars “arranged transversely across the strings thereof, and provided with depending teeth or fingers designed and adapted to come in contact with and silence or ‘cut out’ certain strings.” They serve two musical functions. In one, “the different trigger-bars render those strings silent which do not belong to the responsive chord.” The number of such bars can vary but the second function is served by a single bar, “placed transversely across the middle of the strings of the harp…so adjusted that when moved its triggers touch them lightly at such point, thereby producing the falsetto or flageolet tone.”

The patent drawings show how each bar moves axially against a single spring, and one of its claims is for bars “resting at one end against springs.” However, the description notes that:

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Musical Instruments

From pantalon to pantalonic

28 January 202624 March 2026 Cary KarpLeave a comment

The preceding post examined a large hammered dulcimer with two soundboards, each supporting its own set of strings, one primarily of metal and the other of gut. It was invented in the late-17th century by Pantalon (aka Pantaleon) Hebenstreit who eponymously called it a pantalon. One of his students, Johann Kuhnau, referred to it as a “Pantalonischen Cimbal” – pantalonic dulcimer – in a letter sent to Johann Mattheson on 8 December 1717.

The term pantalon also entered into the musical lexicon as a noun adjunct, with the appearance of Pantalonclavichorde – pantalon clavichords. They were later joined by keyboard instruments with small hammers of uncovered wood or hard leather – Hämmerpantalone – hammer pantalons, often referred to simply as pantalons. (Such instruments have been catalogued in museum collections as nascent pianos and differentiating the two has become a research topic of its own.)

The hammered dulcimers of Hebenstreit’s day did not have damping mechanisms, nor did his pantalon or the hammer pantalon. A core tonal attribute of such instruments is a broad sympathetic vibration of the passive strings, triggered by those that are actively struck. The sound of all strings persists while decaying to inaudibility. The concept labeled “pantalonic” in 1717, appears to have propagated into musical instrument nomenclature to denote a box zither (the classification group to which all the instruments named here belong) deliberately intended to provide this type of resonance.

This post focuses on the intersection of the pantalon with the clavichord. They initially crossed paths in the workshop of the renowned German keyboard instrument maker, Gottfried Silbermann. He both manufactured pantalons for Hebenstreit and invented an extremely wide clavichord with two separate soundboards, named the cembal d’amour.

That instrument has been discussed extensively in scholarly publications, as have the archetypal pantalonic dulcimer, pantalon clavichords, and hammer pantalons. The present text re-examines some of the detail in that narrative. It also provides links to online facsimiles of frequently cited source documents.

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