As older buildings remained standing, many of the newer blocks collapsed like concertinas.
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Cantinho das Concertinas is one of the central meeting places of Rio's large Portuguese community.
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Perhaps the best can be found at Cantinho das Concertinas (Rua Capitao Félix, 110 - Benfica), or "Accordion Corner" at Rio de Janeiro's central CADEG vegetable and flower market.
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German concertinas, developed in Germany for its local market and diaspora, are usually larger than English concertinas, and are generally bisonoric, using a different style of "long plate" reeds, and are often square, as opposed to hexagonal. German concertinas also sometimes have more than one reed per note, which produces a vibrato effect if their tuning differs slightly .
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Otto Schlicht was a German-American manufacturer of concertinas in Chicago.
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Initially the term Anglo-German only applied to concertinas of this type built in England, but as German manufacturers adopted some of these techniques, the term came to apply to all concertinas that used Uhlig's 20-button system.
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English concertinas were most popular as parlor instruments for classical music, while German concertinas were more associated with the popular dance music at that time. In the 1850s, the Anglo- German concertina's ability to play both melody and accompaniment led English manufacturers to start developing the various duet systems. The popular Maccann system was developed towards the end of the century; meanwhile, German manufacturers were producing concertinas with more than 20 keys for local sale. Three keyboard systems for German concertinas eventually became popular: Uhlig's Chemnitzer system, Carl Zimmerman's Carlsfeld system, and the Bandoneon's Reinische system.
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Baritones are similar, but transpose down one octave. Bass concertinas transpose two octaves down, and piccolo concertinas play one octave up. The standard keyboard arrangement across treble, baritone and bass instruments has middle C on the button nearest the player on the second row of the left hand keyboard; tenor instruments may have that position button as the F below middle C. Tenor, baritone and bass concertinas often have an air valve in the position that would otherwise be occupied by the instrument's highest note. The air button is an essential feature of many bass concertinas which only have reeds to sound on the push bellows direction, due to the increased size of the reeds.
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George Jones is often credited as the first English chromatic Anglo concertina maker. British firms active in the late 19th and early 20th centuries include those founded by Charles Wheatstone, Charles Jeffries (who built primarily Anglo-style concertinas), Louis Lachenal (who built concertinas in both English and Anglo styles and was the most prolific manufacturer of the period), and John Crabb.
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20 key concertinas have a limited use for Irish traditional music due to the limited range of accidentals available. Three-row concertinas add a third row of accidentals (i.e., sharps and flats not included in the keys represented by the two main rows) and redundant notes (i.e., notes that duplicate those in the main keys but are located in the third, outermost row) that enable the instrument to be played in virtually any key.
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It differs from other concertinas in that the scale is divided evenly between the two hands, such that playing a scale involves both hands alternately playing each note in sequence.
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In the mid-1830s concertinas were manufactured and sold in Germany and England, in two types specific to the country. Both systems continued to evolve into the current forms as the popularity of the instrument increased. The difference in prices and the common uses of the English and German systems led to something of a class distinction between the two. German or Anglo-German concertinas were regarded as a lower-class instrument while the English concertina had an air of bourgeois respectability.
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The Anglo originated as a hybrid between the English and German concertinas. The button layouts are generally the same as the original 20-button German concertinas designed by Carl Friedrich Uhlig in 1834. Within a few years of that date, the German concertina was a popular import in England, Ireland, and North America, due to its ease of use and relatively low price. English manufacturers responded to this popularity by offering their own versions using traditional English methods: concertina reeds instead of long-plate reeds, independent pivots for each button, and hexagon-shaped ends.
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A Chemnitzer concertina is a musical instrument of the hand-held bellows- driven free-reed category, sometimes called squeezeboxes. The Chemnitzer concertina is most closely related to the bandoneón (German spelling: Bandonion), more distantly to the other concertinas, and accordions.
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Schlicht arrived in the United States from Germany around 1900, having worked on German-type concertinas there. He applied his knowledge to the production of concertinas, and began producing models under the brand- names Patek, Pearl Queen, and Peerless for music shop in Illinois. He transitioned to owning his own concertina workshop, where he produced his brands until 1950. Shortly after he ceased working, in 1952 concertina maker Christy Hengel purchased Schilicht's concertina-making equipment, which had been stored in a basement since the workshop closed, for $1500, moving it to his own shop in Minnesota.
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Various German manufacturers tried to develop a single unified keyboard system for all German concertinas, but this was only partially accomplished by the end of the 19th century, when the Chemnitzer and Carlsfelder systems merged into the unified concertina system, and a unified bandoneon system was created. Despite the new standards, the older systems remained popular into the 20th century. The concertina was popular throughout the 19th century. The Salvation Army in England, America, Australia, and New Zealand commonly used concertinas in their bands, and other concertina bands and musicians performed in all parts of the English-speaking world.
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English concertina made by Wheatstone around 1920 Concertinas are manufactured in several types, the most common in Irish traditional music being the Anglo system with a few musicians now playing the English system. Each differs from the other in construction and playing technique. The most distinctive characteristic of the Anglo system is that each button sounds a different note, depending on whether the bellows are compressed or expanded. Anglo concertinas typically have either two or three rows of buttons that sound notes, plus an "air button" located near the right thumb that allows the player to fill or empty the bellows without sounding a note.
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The Anglo or Anglo-German concertina is, historically, a hybrid between the English and German concertinas. The button layouts are generally the same as the original 20-button German concertinas designed by Uhlig in 1834, and in a bisonoric system. Within a few years of its invention, the German concertina was a popular import in England, Ireland, and North America, due to its ease of use and relatively low price. English manufacturers responded to this popularity by offering their own versions using traditional English methods: concertina reeds instead of long-plate reeds, independent pivots for each button, and hexagon-shaped ends, resulting in the modern Anglo concertina.
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Duet concertinas are held by placing the hands through a leather strap, with thumbs outside the strap and palms resting on wooden bars. The largest duets play bass notes down to C below the stave, and a competent performer can play solo piano music with little compromise.
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Dancing to accordion music, York (June 2018) Music was traditionally provided by either a pipe and tabor or a fiddle. These are still used today, but the most common instrument is the melodeon. Accordions and concertinas are also common, and other instruments are sometimes used. Often drums are employed.
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Learning this lesson, World War I soldiers would deploy barbed wire in so-called concertinas that were relatively loose. Barbed wire concertinas could be prepared in the trenches and then deployed in no-man's-land relatively quickly under cover of darkness. Concertina wire packs flat for ease of transport and can then be deployed as an obstacle much more quickly than ordinary barbed wire, since the flattened coil of wire can easily be stretched out, forming an instant obstacle that will at least slow enemy passage. Several such coils with a few stakes to secure them in place are just as effective as an ordinary barbed wire fence, which must be built by driving stakes and running multiple wires between them.
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All accordions and concertinas have three main components: the reeds, bellows, and buttons or keys. Pushing or pulling the bellows slower or faster makes the sound softer or louder, respectively. The accordion has free reeds on both the treble and bass sides. In modern accordions, the free reeds are generally made of tempered steel.
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The guitaret. Ernst Zacharias created a series of electric lamellophones created in the 1960s for Hohner. These instruments were based on the reeds made by Hohner (already employed in accordions, concertinas, melodicas and harmonicas). These instruments were the Pianet (plucked by a foam pad), the Cembalet (plucked by a rubber pad) and the Guitaret (plucked by fingers).
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The three Lachanel daughters performed together from 1865 to 1866 and their performances received high acclaim, with Marie able to receive praise from the press by herself. Marie promoted the company's concertinas by performing with them. In 1868, she married the photographer Edwin Albert Debenham of Bounemouth. They had nine children, but only eight of them survived infancy.
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Concertinas are mass-produced in Italy and China, and are produced by individual workshops in Europe, South Africa, Australia, and North America. Modern-made instruments are in a spectrum of quality and traditionalism, with the most expensive instruments using traditional concertina-type reeds, while mid-level and inexpensive instruments take advantage of the lower price of mass-produced accordion reeds.
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Thus in a given range, C-E-G-B-d is on one side, D-F-A-c-e on the other. The two outer rows consist of the sharps and flats required to complete the chromatic scale. This distribution of scale notes between sides facilitates rapid melodic play. English-system treble and tenor-treble concertinas usually span 3 1/2 or 4 octaves.
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This tango has undergone total > transformation: the movements are slower, with new and often melancholy > harmonies. Tango orchestras come to consist of two violins, two concertinas, > a piano, and a bass. The tango is sometimes sung as well. Night Club, 1960: > This is a time of rapidly expanding international exchange, and the tango > evolves again as Brazil and Argentina come together in Buenos Aires.
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Traditionally styled music is generally appellated as "Sotho-traditional" or "Zulu-traditional", and has been an important part of the South African music business since the 1930s. Vocal and concertina records were released with a call-and-response style and a concertina used as a counterpoint to the lead vocal. Following World War 1, cheap imported concertinas arrived in South Africa, especially the Italian brand bafstari.
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Pearl Queen Diamond Deluxe The Chemnitzer concertina has been predominantly used in folk music, especially polka music played by Central and Eastern Europeans and by nineteenth- and twentieth- century immigrants to the United States from those regions. "Whoopee John" Wilfahrt and Walter "Li'l Wally" Jagiello were two prominent examples of polka musicians playing Chemnitzer concertinas. However, the instrument, especially in its 52-button and larger versions, is capable of performing in other musical contexts.
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The folk revival movements of the 1960s led to a modest resurgence in the popularity of the concertina, particularly the Anglo. More recently, concertina popularity again seems on the rise, particularly the Anglo in the traditional music of Ireland. Renewed interest in tango since the 1980s has also seen interest in the bandoneon increase. Traditional music playing continues in many parts of the UK in the 21st century, often using English and Anglo-system concertinas.
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Artists' books have employed a wide range of forms, including the traditional Codex form as well as less common forms like scrolls, fold-outs, concertinas or loose items contained in a box. Artists have been active in printing and book production for centuries, but the artist's book is primarily a late 20th-century form. Book forms were also created within earlier movements, such as Dada, Constructivism, Futurism, and Fluxus. Artists' books are made for a variety of reasons.
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The English concertina and the Duet concertina bear similarities in history and construction. Both systems generally play a chromatic scale and are unisonoric, with each key producing the same note whether the bellows are being pushed or pulled. Both of these English instruments are smaller than German concertinas, and are usually hexagonal in shape, though occasionally featuring 8, 10, or 12 sides. The English system alternates the notes of the scale between two hands, enabling rapid melodies.
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Crosdill was born in London, England and was the son of violoncellist Richard Crosdill (1698–1790) with whom he is sometimes confused. John Crosdill, along with James Cervetto (1747–1837), son of Italian émigré Giacobbe Cervetto (1682–1783), was one of the most visible cellists in London during the 1770s and 1780s. Crosdill was a skilled performer but not a strong composer. He played concertos, concertinas, continuo sonatas and chamber music; both solos and orchestral parts.
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In 1994, the composer Fernando Lopes Graça, who had previously worked closely with Giacometti on his research, left many items to the Municipality of Cascais in his will and these were incorporated in the museum in 1995. At this time the museum took on its present name. More recently, it has also incorporated a collection acquired from the conductor Álvaro Cassuto. Instruments to be seen are guitars, mandolins, accordions, flutes, bagpipes, concertinas, drums, tambourines, and idiophones, such as castanets, ferrinhos, and lamellophones.
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The bandoneon is a type of concertina particularly popular in South America and Lithuania, frequently featuring in tango ensembles. Concertinas (including the English concertina, Anglo concertina and bandoneon) play single notes (melody) on both left and right hands. The Indian harmonium remains an important instrument in many genres of Indian music, stemming from French-made hand-pumped harmoniums being brought to India by missionaries in the mid-19th century. The flutina is an early precursor to the diatonic button accordion.
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A platoon of soldiers can deploy a single concertina fence at a rate of about a kilometer ( mile) per hour. Such an obstacle is not very effective by itself (although it will still hinder an enemy advance under the guns of the defenders), and concertinas are normally built up into more elaborate patterns as time permits. Today, concertina wire is factory made and is available in forms that can be deployed very rapidly from the back of a vehicle or trailer.
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The Slovenian style or Cleveland style is generally played at a smoother tempo and features different instrumentation. Whereas the Polish style utilizes trumpets and concertinas, the main melody instruments in the Slovenian band are the accordion and tenor saxophone. A diatonic accordion or "button box" is sometimes used instead of the piano accordion or chromatic accordion and offers a different sound. The Slovenian style also adds a banjo or guitar to bolster the rhythm section (most commonly banjo for polkas and guitar for waltzes).
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As an adhesive, Rabbit-skin glue is used in the production of the bellows of concertinas, and in other smaller, light instruments—prominently in violins. Its supreme advantages are very fast bonding; and easy debonding with hot water if an instrument must be disassembled for internal repairs. It also has very low creep, which is the tendency of some glues to plastically yield under even low but consistent stresses over time. For example, guitar bridges are subject to high lateral stresses that with the wrong glue can lead it to creep forward.
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Shaked found Live in Japan, with its "fuzzy bass lines, bizarre guitar lines … and half-frantic, half-delusional vocals", a "bent experience" reminiscent of Gong. He added that while it can be a little "exhaust[ing]", it still "challenge[d] the underground scene's nonconformist". Philip Clark wrote in The Wire that the Work introduced "unheralded level[s] of rhythmic complexity to punk". In a review of Live in Japan, he said "[t]he music feels infinitely malleable as the fragmented rhythmic flow concertinas and hits accumulative climaxes like the best free jazz".
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Two-row Anglo concertinas usually have 20 buttons that sound notes. Each row of 10 buttons comprises notes within a common key. The two primary rows thus contain the notes of two musical keys, such as C and G. Each row is divided in two with five buttons playing lower-pitched notes of the given key on the left-hand end of the instrument and five buttons playing the higher pitched notes on the right-hand end. The row of buttons in the higher key is closer to the wrist of each hand.
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Closest to the enemy are several lines of anti-tank obstacles and minefields. Usually it means a V or U-trench and a wall or dragon's teeth row, while moats, hedgehogs and berms have been used very rarely because they are difficult to be camouflaged. Behind this lies an extensive, at least 30-meter-wide anti-infantry entanglement, which is a mixed system of apron fences, wire concertinas, electric fences, traps, mines, nail spikes and spike pits. Both elements are well camouflaged by good location (relief) and by plants (e.g.
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A barrier known as a triple concertina wire fence consists of two parallel concertinas joined by twists of wire and topped by a third concertina similarly attached. The result is an extremely effective barrier with many of the desirable properties of a random entanglement. A triple concertina fence could be deployed very quickly: it is possible for a party of five men to deploy of triple concertina fence in just 15 minutes. Optionally, triple concertina fence could be strengthened with uprights, but this increases the construction time significantly.
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A section of the Elderly showroom offering acoustic and archtop electric guitars In 2007, Elderly sold more than 16,000 instruments. The company is a dealer of Martin guitars, as well as other mainstream brands such as Guild and Fender. It sells used Gibson instruments, but not new models as a result of the Gibson lawsuit. Although the bulk of its business comes from guitar sales, the company carries a range of other instruments, such as banjos, ukuleles, mandolins, accordions, concertinas, bouzoukis, sitars, musical saws, and African thumb pianos.
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The left-hand buttons, on the left of the diagram, play bass notes, The right-hand buttons, on the right side, play higher-pitched notes. Each button plays a different note if the bellows are pulled open or pushed closed. As with other members of the concertina family, the bandoneon is held between both hands, and pulling and pushing actions force air through bellows and then through particular reeds as selected by pressing the instrument's buttons. As with other concertinas, the button action is in parallel to the motion of the bellows, and not perpendicular to it as with an accordion.
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Polka rhythmBlatter, Alfred (2007). Revisiting music theory: a guide to the practice, p.28. . There are various styles of contemporary polka besides the original Czech dance, which is still the chief dance at any formal or countryside ball in the Czech Republic. One of the types found in the United States is the North American "Polish-style polka," which has roots in Chicago, with large Czech and Polish minorities; two sub- styles are "The Chicago Honky" (using clarinet and one trumpet) and "Chicago Push" featuring the accordion, Chemnitzer and Star concertinas, upright bass or bass guitar, drums, and (almost always) two trumpets.
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The parish has several community groups that support local initiatives, including the Associação dos Amigos do Mindelo para a Defesa do Ambiente (an environmental group), the Associação Cultural e Desportiva de Mindelo (ACDM) (a sports association), the Associação Recreativa Rancho Regional de Mindelo (ARRRM) (a choral group), the Centro Social de Mindelo – IPSS (community centre) and the Corpo Nacional de Escutas – Agrupamento 572 (scouts). Apart from religious celebrations throughout many of the villages, the parish is known for the Festival de concertinas e cantares ao desafio (occurring in the spring), and the Festival Folclórico (in the second Sunday in August).
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In the early-twentieth century governmental restrictions on black people increased, including a nightly curfew which kept the nightlife in Johannesburg relatively small for a city of its size (then the largest city south of the Sahara). Marabi, a style from the slums of Johannesburg, was the early "popular music" of the townships and urban centres of South Africa. Practitioners played marabi on pianos with accompaniment from pebble-filled cans, often in shebeens, establishments that illegally served alcohol to black people. By the 1930s, however, marabi had incorporated new instruments - guitars, concertinas and banjos - and new styles of marabi had sprung up.
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A series of sequential notes can be played in the home-key rows by depressing a button, compressing the bellows, depressing the same button and extending the bellows, moving to the next button and repeating the process, and so on. A consequence of this arrangement is that the player often encounters occasions requiring a change in bellows direction, which produces a clear separation between the sounds of the two adjacent notes. This tends to give the music a more punctuated, bouncy sound that can be especially well suited to hornpipes or jigs. English concertinas, by contrast, sound the same note for any given button, irrespective of the direction of bellows travel.
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The Carlsfelder concertina () is a member of the German concertina family developed by Carl F. Zimmerman, based on the earlier Chemnitzer concertina of Carl Friedrich Uhlig. Zimmerman, a native of Carsfeld, Saxony, unveiled his instrument at the 1849 Industrial Exhibition in Paris, the 1851 London Industrial Exposition, and the 1853 Exhibition of the Industry of All Nations in New York. Zimmerman expanded on Uhlig's early 1- and 2-row square concertinas, developing a 3-row chromatic bisonoric instrument, eventually selling his business to instrument maker Ernst Louis Arnold and emigrating to the United States, where he later became famous for his string instrument invention, the autoharp.
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Also appearing are Noel Hill on concertinas, Tony Linnane on fiddle, Gabriel McKeon on Uilleann pipes, Jimmy Faulkner on guitars and Rosemary Flanagan on cello. The final track on the present CD, "John O'Dreams", was produced by Dónal Lunny and recorded at Windmill Lane Studios in 1980; therefore, it did not originally feature on the 33rpm, vinyl LP version of The Iron Behind the Velvet. Instead, the song was first released—under the title "John of Dreams"—on the compilation album High Kings of Tara,Sleeve notes from High Kings of Tara, Tara Records TARA 3003, 1980. then subsequently re-released on the CD version of The Iron Behind the Velvet.
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The National Trust runs a shop at the harbour, and a visitor centre in the Old Smithy. Charles, Prince of Wales, visited Boscastle on 15 July 2019 to commemorate the anniversary of the Cornwall AONB and to visit a local Cornish hedge restoration project.Rosie Cripps Warm welcome for Prince Charles as he visits Boscastle ; Camelford & Delabole Post; 16 July 2019 The Boscastle Breakdown (stepdance) The Boscastle & Tintagel Players concertinas, cello & stepping is included in the Topic Records compilation The Voice of the People. The Wellington Inn is an old coaching inn (16th-century) near the harbour; its furnishings include church lamps which were donated by the architect Thomas Hardy and stained glass windows installed in 1846.
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A concertina is similar to an accordion and is the lead instrument in most Boeremusiek bands. There are many different types of concertinas, which is why Boeremusiek has so many unique sounds and styles, and the construction the concertina is what makes the different sounds in the Boeremusiek band; it depends on where the slots and holes are put makes the difference on the sound that the concertina makes. A Boeremusiek band may include piano accordions, button harmonicas, accordions, pianos, harmoniums and the guitar, and sometimes, a cello or bass guitar may be seen. The sound of a Boeremusiek band may depend on what region the band is from, seeing that Boermusiek’s intent is to be informal, instrumental dance music.
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Herbert Greene and Marion Vane performing around 1950 Herbert Greene's Wheatstone Duet Concertina Herbert Jabez Green (aka Herbert Greene) (1907–1980) was an English professional musician and virtuoso of the 81 key Wheatstone Duet Concertina and accomplished player of many different concertinas, the accordion and the piano. He had an excellent technique and ability to exploit the full capabilities of his instrument, particularly the double keyboards with his use of counterpoint, rich harmonies, tricky embellishments and improvisation. During his lifetime he was fairly well known for his ability and he played in many prestigious and famous venues throughout the UK as well as on BBC radio's Variety Bandbox programme. He began performing in public in the 1920s and continued through to the 1960s.
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Double apron fence Obstacle with concertina wire In the military science of fortification, wire obstacles are defensive obstacles made from barbed wire, barbed tape or concertina wire. They are designed to disrupt, delay and generally slow down an attacking enemy. During the time that the attackers are slowed by the wire obstacle (or possibly deliberately channelled into killing zones, or both) they are easy to target with machinegun and artillery fire. Depending on the requirements and available resources, wire obstacles may range from a simple barbed wire fence in front of a defensive position, to elaborate patterns of fences, concertinas, "dragon's teeth" (which serve a similar purpose as wire obstacles, but for combat vehicles instead) and minefields (both anti-personnel and anti-armor) hundreds of metres thick.
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The memories of Alecu Russo confirm the tableaux: "Copou is the theatre where young men make their worldly debut, all melancholy and laid back in their carriages, the usual cigarette hanging from the corner of their mouths ... Copou is also a scene that our ladies like to use, big and small, young and old, ugly or beautiful, to compete for brightness in their eye-catching outfits".idem. Jeffrey Gorney wrote similarly of Copou Park in his 2014 memoirs, describing it as "green and gracious ... where Great-Uncle Victor ran a beer garden; where my grandparents and their friends came to see and be seen; where strings of bulbs lit up the night with gaiety; and where wine and beer flowed freely and laughter peeled to the sound of violins and concertinas".Gorney, J. 2014. Mysterious Places.
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In the early 20th century, this popularity rapidly declined as demand for the accordion increased along with mass production of other instruments such as the piano which are more suited to chromatic forms of music like blues and jazz. By the middle of the century, few concertina makers remained, and most of those used accordion reeds and inexpensive, unreliable keyboard mechanisms. Yet, the various forms of concertina survived in some areas: Anglo concertinas in Irish traditional music, the English and the Anglo in English Morris dancing, the Anglo in Africa, among Afrikaners (see Boer music) and Zulus (who call it a "squashbox"), the Chemnitzer in the United States as a polka instrument, and the bandoneon in Argentina as a prominent part of the tango tradition. Between World War I and World War II, there were many concertina and bandoneon bands in Germany, but with the rise of the Nazi regime these musical clubs disappeared.
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Dancing at Monmouth, as part of the Olympic torch relay, 2012 In the 1960s, E.C. Cawte, the folklorist, proposed that these dances from the English side of the Welsh borders – Herefordshire, Shropshire and Worcestershire – constituted a Welsh border tradition. Music for The Widders Since the 1960s and with further collecting in the 1970s by people such as Dave Jones (late of Silurian Morris, founded 1969, and later the Not For Joes) and Keith Francis (of Silurian Morris) a distinctive border morris style has grown. The tradition is characterised by black faces, tattered shirts or coats, much stick-clashing and a big band traditionally comprising melodeons, fiddles, concertinas, triangles and tambourines, although they now often also feature a tuba or sousaphone, and flute or oboe. Under the guidance of Dave Jones and Keith Francis, Silurian Border Morris sought to interpret the collected dance material, preserving as much of the traditional styles and features as can be deduced. By contrast, in 1975, John Kirkpatrick created a new border tradition with the Shropshire Bedlams, which seeks to capture the spirit of the border sides, but not recreate any specific tradition or dance.
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The defining characteristic of Dynamic Tonality is that a given rank-2 temperament (as defined by a period α, a generator β, and a comma sequence) Alt URL is used to generate, in real time during performance, the same set of intervals among: # A pseudo-Just tuning's notes; # A pseudo-Harmonic timbre's partials; and # An isomorphic keyboard's note-controlling buttons. Generating all three from the same temperament solves two problems and creates (at least) three opportunities. # Dynamic Tonality solves the problem of maximizing the consonance of tempered tunings, and extends that solution across a much wider range of tunings than were previously considered to be consonant. # Dynamic Tonality solves the "cumbersome" problem cited by Isacoff by generating a keyboard that is (a) isomorphic with its temperament (in every octave, key, and tuning), and yet is (b) tiny (the size of the keyboards on squeezeboxes such as concertinas, bandoneons, and bayans). The creators of Dynamic Tonality could find no evidence that any of Isacoff's Great Minds knew about isomorphic keyboards or recognized the connection between the rank of a temperament and the dimensions of a keyboard (as described in Milne et al. 2007).
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