Book contents
- Frontmatter
- Dedication
- Contents
- List of Illustrations
- Preface
- Acknowledgements
- Musical Instrument Collections and Library Sigla
- Glossary of Terms Applied to the Flageolet
- Note on the Text
- 1 The Flageolet Prior to 1660
- 2 The Flageolet in the Seventeenth Century
- 3 The Flageolet in the Eighteenth Century
- 4 The English Single Flageolet 1800–1850
- 5 The English Single Flageolet 1850–1914
- 6 The Double Flageolet
- 7 The Triple Flageolet and the Flute-Flageolet
- 8 The French Flageolet
- 9 The Flageolet in Music and Society
- Appendix 1 Checklist of Instruments Illustrated
- Appendix 2 Bibliographical Data on Tutors
- Bibliography
- Index
7 - The Triple Flageolet and the Flute-Flageolet
Published online by Cambridge University Press: 18 January 2023
- Frontmatter
- Dedication
- Contents
- List of Illustrations
- Preface
- Acknowledgements
- Musical Instrument Collections and Library Sigla
- Glossary of Terms Applied to the Flageolet
- Note on the Text
- 1 The Flageolet Prior to 1660
- 2 The Flageolet in the Seventeenth Century
- 3 The Flageolet in the Eighteenth Century
- 4 The English Single Flageolet 1800–1850
- 5 The English Single Flageolet 1850–1914
- 6 The Double Flageolet
- 7 The Triple Flageolet and the Flute-Flageolet
- 8 The French Flageolet
- 9 The Flageolet in Music and Society
- Appendix 1 Checklist of Instruments Illustrated
- Appendix 2 Bibliographical Data on Tutors
- Bibliography
- Index
Summary
The triple flageolet is a double flageolet with a modified head to allow the fitting of a third pipe which functions as an additional accompaniment to ‘duets’ played on the customary left- and right-hand pipes: the third pipe is furnished with four closed keys and works on the same principle as the ocarina (see below). The triple flageolet as used in the nineteenth century was devised by William Bainbridge in about 1820 but it is not possible to assign a precise date to its appearance as no patents exist, despite the stamp ‘PATENT’ on both Bainbridge’s and Hastrick’s instruments. However, Bainbridge refers to his triple flageolet in his Preceptor for the Patent Double Flute and Double Flageolet of c1819:
He … informs the Public, that he has also invented a NEW MUSICAL INSTRUMENT, which may be added to his Double Flageolet, whereby Three Instruments may be easily played, by one person, and which has the effect of a sweet toned Organ.
This date represents the earliest notification of the triple flageolet and the instrument was certainly in use in 1825, Thomas Busby writing in his Concert Room and Orchestra Anecdotes:
The quality of the tones of this very curious flageolet is highly pleasing: independently of the extraordinary effect of which the harmonical combination is produced; and one additional and strong recommendation it possesses, is that of the ease with which the art of performing on it may be acquired.
The comment ‘the ease with which the art of performance may be acquired’ suggests that Busby had not attempted to play the instrument, which Bainbridge continued to advertise until 1829.
John Parry described the triple flageolet in an article in The Harmonicon of 1830:
The trio flageolet. Within these few years Mr. Bainbridge has added a bass joint to his double flageolet, the compass of which is from g to e’ [illustrated in staff notation] and the tone resembling the lower notes on the German flute. The effect produced by the combination of three notes is very good and mellifluous.
- Type
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- Information
- The Flageolet in England, 1660-1914 , pp. 97 - 110Publisher: Boydell & BrewerPrint publication year: 2020