Instruments

These four instruments are classified as bell harps but two of them (the middle two) have labels with the maker's name,  John Simcock.  It is possible that the other two were also made by Simcock but have lost their labels. Simcock claimed to have invented an instrument that he called the English harp in 1760 and in his lifetime in the 18th century his name was only ever connected to the English harp and never to the bell harp.  He claimed to be, and was acknowledged by others to be,  the 'Inventor and Maker of the English harp'. The English harp seems to have enjoyed a brief period of popularity in the 1760s. For example, it was possible to buy an English harp from John Simcock himself in Bath and then Leek, but also from the bookseller Joseph Ogle in Leeds. The English harp was featured in the catalogue of Longman, Lukey and Co. (1772).

There are two other surviving instruments made by John Simcock. One is in the V&A in London with 24 courses (see Tunings for more details) and there is also the instrument that first appeared in A.J. Hipkin's Musical Instruments Historic, Rare and Unique (1888) and is featured on the home page. It is remarkably different, perhaps suspiciously different, from all the other Simcock instruments. 

See The bell harp in the 18th century for more details but it is obvious from descriptions of the bell harp that Simcock's instrument must have been some sort of modification of that instrument. It many never be possible to know precisely how Simcock's instruments differ from the bell harps that had existed from earlier in the 18th century, but it is always tempting to speculate. 

The earliest description of a bell harp is in James Grassineau's Musical Dictionary of 1740 and includes these details: the bell harp has a soundboard with roses, it is about three feet in length and it has a scale of three or four octaves. These specifications of length and range of notes were repeated in other works of reference. Although there are reasons to be sceptical about these specifications, taken at face value, the bell harp was roughly three feet in length with a range of three or four octaves.

These four English harps are both smaller and have a smaller range. Even the 24-course instrument in the V&A made by Simcock has a range of about two octaves plus a note a fourth lower; the two octaves are (almost) fully chromatic.

Both of the transverse bars across the top of the instrument are slightly domed (see below). The upper bar is glued in place, as expected, and the lids slide into grooves in the sides, the septum and this upper bar. Beyond the top of the lids is the playing area where the strings are exposed.

The other transverse bar is quite different and the details can be seen on the actual instruments in the Horniman (see below).  This transverse bar, presumably for supporting the lids, is designed to be loose fitting. It is not glued. It fits through the septum in a slot and each end fits loosely into recesses in the sides. When the lids are on, a pin is inserted through the lids and into the holes in the transverse bar. 

This is a very strange design feature and it looks like the illustrations of instruments in the Rees' Cyclopaedia and in the Dalyell/Galpin references have it too. The V&A 24-course instrument made by Simcock also looks as if it has this same feature.

Why isn't this bar glued in place? Why is it loose fitting? Surely there is the danger that it would vibrate and cause a rattle when the instrument is played? Perhaps some sort of buzzing effect was intended?

With their lids removed, the stringing arrangement can be seen. There are 16 triple courses with nine courses on the right side and seven courses on the left side. The septum is not in the exact middle, but offset to the left. As in all swung zither instruments, the design follows the left-right then right-left ascending scale principle, as explained on the home page. The shortest course and highest note is not on the outer right but in the middle of the instrument. 

But there is an interesting deviation from this principle in that the lowest course is not on the left-hand side but is on the outer right-hand side. In the photograph showing the flexible transverse bar, the mini hitch pin block can be seen under the transverse bar. The right-hand side mini hitch pin block can be seen in the Dalyell/Galpin illustration too,  and probably can be seen in the Rees' Cyclopaedia illustration (top right, just under the transverse bar. So, not only does the scale move upwards in two directions, it breaks its own rule with the lowest note. There has never been an explanation or even speculation about these curiosities.

Thanks to St Cecilia's Museum for allowing me to take these photographs. The instrument is now shown with its lid off.  According to the the Museum's technical description it is made of sycamore but, unlike the instruments above, it has a soundboard. The soundboard is spruce with the grain running across the instrument. Probably there are two hardwood hitch pin planks under the soundboard, both for the hitch pins and to support the soundboard.