Charles Wolff Fine Keyboard Instruments The Fun House The clavichord is perhaps the most personal and expressive of all keyboard instruments. It's unique construction permits the player to remain in contact with the strings even after the initial attack. This gives the player precise control of the dynamics and the continuing character of the sound. Many keyboard performers are turning to the clavichord for the lessons it affords them in developing evenness, sensitivity and clarity of touch. The clavichord demands from the player a certain level of precision in execution if one wishes to exploit its' possibilities to the fullest. The Clavichord provides the amateur player with an easily maintained, easily housed and musically rewarding instrument. For the advanced player it opens new worlds of musical and technical insight. Clavichords such as these were the typical domestic instrument in Germany, Austria, Italy, the Scandinavian countries and on the Iberian peninsula for over four hundred years. Throughout this time, the majority of clavichords were of the fretted type.

In the fretted, or gebunden clavichord, most strings (or pairs of strings as in our double-strung instruments) are shared by two keys, so that C and C#, for instance, are both played on the same string or pair of strings. My Small Fretted clavichord is a fine example of a late 17th century fretted clavichord. I will gladly build one for you or build it yourself with my exceptional clavichord kit . My Hubert clavichord is an excellent example of a larger fretted clavichord. Based on an instrument by Christian Gottleb Hubert, Ansbach 1782. With a keyboard range of C ï¿½ g3, 56 notes, this is a versatile instrument that both plays and sounds wonderful. This clavichord is available as a custom built instrument or as a clavichord kit . The later bundfree, or unfretted clavichord employs one pair of strings per note. As a result of this arrangement, the number of strings needed in a fretted clavichord could be nearly half those needed compared to the unfretted instrument.

Some people feel the fewer strings found on the fretted clavichord result in a decreased load on the soundboard and subsequently a fine, more resonant and singing tone. The Schiedmï¿½yer clavichord is a fine representative of the large later clavichords which are so admirably suited to the music of Hayden, Mozart, C.P.E. Bach and their contemporaries. These clavichords are in sound and appearance quite elegant. There is a unique ambiance and romantic richness of sound which surrounds the player and listener with a shimmering aura and clarity of voice. The larger unfretted clavichords are wonderfully suited for the music of the late baroque, classic and romantic composers. The versatility and range of these instruments make them an indispensable part of my keyboard collection. My clavichords are built to the highest standards of workmanship and design. Their quality is the result of many years experience in building early keyboard instruments. My research into the art, craft, and history of keyboard instrument building is a vital and continuing part of my work Every instrument that leaves is of the highest quality in sound, and construction, and as durable and trouble free as possible.

Clavichords - Robert Duffy Harpsichords and Clavichords Clavichords Clavichords Seventeenth c. fretted clavichord Clavichords are small, light instruments with a much simpler mechanical action and make an ideal practice instrument due to their quiet sound. This model has a C/E-c’’’ keyboard, is double fretted, (one pair of strings serves two notes), and is very portable due to its 42” x 13” size. It is available painted or with a natural wood finish. A stand is available as an option. Price: $6,000. Pedal Clavichord The pedal clavichord was developed as a home practice instrument for organists. It consists of a pedal board base which supports the case of the pedal instrument. An independent manual clavichord (or two) sits upon it as in an organ. The sensitive clavichord action provides the demanding, revealing yet expressive response to the organist as he practices in his home.

The antique which is the basis of my model (Gerstenberg 1760) has 16’ and 8’ in the pedal below and a pair of manual clavichords housed in a drawer-like cabinet above. My model has a 30 note compass (CC-f) pitched at 8’ with a flat, non-radiating pedal board. It measures 72” x 19” and the pedals extend 38” from the rear. Any type of manual clavichord can be placed atop the pedal, but I also offer the full suite of clavichords in a storage cabinet as in the antique. These measure 61” x 17 ½”, are unfretted with a 58 note C-g’’’ compass and 6 ½”octave span keyboards. I offer these instruments in maple, cherry, or oak, naturally finished. A matching bench can also be provided. Prices: Pedal clavichord only $12,000; manual clavichord $8,000; full two manual and pedal clavichord with bench $30,000.

A Note on Ordering: A ten percent deposit is due upon ordering, with payment in full upon delivery. Delivery times vary. I am happy to discuss these instruments or any others you may desire to have built. I can be reached by clicking here . What is a... Clavichord? | Classical-Music.com What is a... Clavichord? Julian Perkins champions an under-rated instrument 16 June 2016 - 11:57am Rating: 0 ‘‘From his very childhood HANDEL had discovered such a strong propensity to Music, that his father, who always intended him for the study of the Civil Law, had reason to be alarmed. Perceiving that this inclination still increased, he took every method to oppose it. He strictly forbad him to meddle with any musical instrument; nothing of that kind was suffered to remain in the house, nor was he ever permitted to go to any other, where such kind of furniture was in use. All this caution and art, instead of restraining, did but augment his passion. He had found means to get a little clavichord privately convey’d to a room at the top of the house. To this room he constantly stole when the family was asleep.

He had made some progress before Music had been prohibited, and by his assiduous practice at hours of rest, had made such farther advances, as, tho’ not attended to at that time, were no slight prognostications of his future greatness.’’ John Mainwaring, Memoirs of the Life of the Late George Frederic Handel, 1760 Anybody whose neighbours complain about their keyboard practice could, like Handel, turn to the clavichord. Its seemingly soft tones have enchanted musicians from about the fifteenth century, and contemporary composers including Herbert Howells, Stephen Dodgson and Peter Maxwell Davies have written pieces specifically for this Cinderella of the keyboard. The clavichord’s mechanism is disarmingly simple: each key lever has a brass blade (tangent) at its end that pushes up against pairs of strings when the key is pressed down. This direct connection with the strings allows the player not only to make dynamic contrasts but also to sustain and control the sound. Apart from the accordion, the clavichord is unique amongst keyboard instruments in allowing the player some vibrato.

Eighteenth-century composers such as Carl Philipp Emanuel Bach, for whom the clavichord was an ideal vehicle for the ‘empfindsamer Stil’ (‘’expressive style’’), even notated vibrato in their keyboard music. Clavichords may be fretted or unfretted. In fretted instruments, one pair of strings serves more than one note, at least for part of the compass; in unfretted ones each note has its own pair of strings. Until the early eighteenth-century clavichords were usually fretted, while later ones were frequently unfretted. Compasses range from around four octaves in the early fifteenth century to five octaves or more in the eighteenth. Comparing the rectangular clavichord to the harpsichord is akin to the story of the tortoise and the hare. While the harpsichord has always been the more public, dazzling instrument, it petered out towards the end of the eighteenth century in favour of the fortepiano, while the clavichord, being primarily a quiet personal instrument, continued to be used into the nineteenth century – especially in Scandinavia (Carl Nielsen may even have used one when composing).

The clavichord was the first type of keyboard instrument that Arnold Dolmetsch revived in 1894, and its intimate charms have inspired performers ranging from Gustav Leonhardt to Oscar Peterson. Though do not be fooled. For the clavichord is an unforgiving mistress that requires a firm yet delicate touch. It is these apparently opposing demands that draw me inexorably to this lady. Furthermore, Johann Sebastian Bach himself is reputed to have said that the clavichord was his favourite type of keyboard instrument, and his small-scaled French Suites seem particularly well-suited to it. What better reasons to record these works on the clavichord? Julian Perkins Julian Perkins’ album of J.S. Bach French Suites is out now on Resonus Classics and he will be performing at the Ryedale Festival on 30 July 2016. Clavichord | Define Clavichord at Dictionary.com clavichord noun 1. an early keyboard instrument producing a soft sound by means of metal blades attached to the inner ends of the keys gently striking the strings.

Origin of clavichord 1425-1475 1425-75; late Middle English < Medieval Latin clāvichordium, equivalent to Latin clāvi(s) key + chord(a) chord 2 + -ium -ium Related forms Examples from the Web for clavichord Expand Historical Examples You cannot possibly make a piano sound like a clavichord through any medium of touch or pedals. Harpsichords and Clavichords Cynthia A. Hoover At a later period the clavichord was copied by the Germans and Belgians. How Music Developed W. J. Henderson After tea, the company went into the sitting room and Princess Mary was asked to play on the clavichord. How Music Developed W. J. Henderson clavichord, klav′i-kord, n. an obsolete musical instrument, of the same form as the Harpsichord and Spinet. British Dictionary definitions for clavichord Expand noun 1. a keyboard instrument consisting of a number of thin wire strings struck from below by brass tangents.

The instrument is noted for its delicate tones, since the tangents do not rebound from the string until the key is released Derived Forms C15: from Medieval Latin clāvichordium, from Latin clāvis key + chorda string, chord1 Collins English Dictionary - Complete & Unabridged 2012 Digital Edition © William Collins Sons & Co. Ltd. 1979, 1986 © HarperCollins Publishers 1998, 2000, 2003, 2005, 2006, 2007, 2009, 2012 Word Origin and History for clavichord Expand n. mid-15c., from Medieval Latin clavicordium (15c.), from Latin clavis "a key" (see slot (n.2)) + chorda "a string" (see cord ). Online Etymology Dictionary, © 2010 Douglas Harper Piano History Piano History Short History of the Pianoforte Keyboard instruments have existed since the middle ages. The organ, the oldest keyboard instrument, has been played for several centuries.

It is likely that the use of keys to produce music was popularized by the organ, compelling the invention of different types of keyboard instruments. The organ, however, is a wind keyboard, and is almost entirely unrelated to the piano. The first keyboard instrument that used strings, the clavichord, came to be in the late Middle Ages, although nobody knows exactly when it was invented. The clavichord had an action similar to that of the piano, but the tone it produced was much softer and too quiet to play in a concert. A small clavicord makes a sound that is easily covered by the noise produced by a refrigerator. The clavichord was also much smaller and simpler than its relative, the harpsichord. For these reasons, it was a popular household instrument, and could be found in the homes of several Baroque composers, including J.S. Bach. The clavichord had a very simple action. When pressed, the key lifted a tangent, a small copper square, which struck the string, as well as lifting a damper, which allowed the strings vibration to be sustained as long as the key was held.

The clavichord had one string per key, sometimes one for two keys, while a modern grand piano contains up to three strings per key. While the small tangent and the small number of strings made the clavichord a very quiet instrument, the tangent allowed for Crescendos and Diminuendos (gradual dynamic changes), as well as some semblance of a dynamic range. Of the early stringed keyboards, the clavichord was the most similar to the piano. The next keyboard instrument, chronologically, was the harpsichord, probably invented in the 15th century in Italy (Again, this information is not known). The harpsichord is an instrument much unlike the clavichord. Instead of striking the string with a tangent, the harpsichord uses a bird quill or a piece of hard leather (referred to as the plectrum) to pluck its strings. Also, the harpsichords strings run parallel to the keys, like a grand piano, whereas a clavichord has strings perpendicular to the keys, like a modern upright piano.

When a harpsichord is played, the key lifts a jack, which pushes the plectrum against the string, causing the string to be plucked. Like the clavichord, the harpsichord contains a damper to cut off the vibration as soon as the key is released The third type of stringed keyboard instrument is the virginal, also called the spinet. The virginal was an instrument used in the 15th, 16th and early 17th centuries, and is actually a small harpsichord, consisting of either one or two sets of keys, each with a 4-octave range. Around the turn of the 18th century, composers and musicians were looking for a new kind of keyboard instrument. Some were looking to recreate the effects produced by dulcimer virtuoso Panteleon Hebenstreit (1669-1750). Others sought a keyboard instrument as powerful and as expressive as the violin. Most of all, they needed a keyboard with a large dynamic range that could play very loud or very soft, and that could change the dynamics smoothly and subtly.

Their wish came true in 1709, when Bartolommeo Cristofori, curator of musical instruments for the Medici family, invented the first piano. He called his invention a gravicembalo col piano e forte-a "keyboard instrument that can be played soft and loud." This name was shortened to "pianoforte," (soft-loud) and eventually to just "piano." The action of Cristoforis piano was very simple. It contained only the key, a felt hammer and an escapement, with no dampers or pedals. The key would push up the hammer against the string, causing a vibration unlike that of the harpsichord or the clavichord. The escapement allowed the hammer to fall after being pushed up. Without the escapement, the hammer would remain pressed against the string as long as the key was held down, which would deaden the string. Later, in the 1800s, a double escapement was invented, which allowed the hammer not to fall the whole way back down, allowing for quicker repetition of notes and faster trills. What makes the piano a truly wonderful instrument is its resonance and its dynamic range.

A wooden case, held up with a steel frame (Not invented until the 19th century; Cristoforis was just made of wood), allows the instrument to have a ringing sound, especially noticed when it is played forte (loud). The dynamic range of the piano is also quite noteworthy. The hammering action and the range in vibration of the strings allows it to be played in any dynamic, from pianissimo (very soft) to fortissimo (very loud). What sets the piano apart from other keyboards is its ability to play not only soft and loud, but to make crescendos and diminuendos and change dynamics very quickly or very gradually. When the piano came into popularity, Europe was in the transition between the Baroque and Classical periods. In the classical period, the piano became very popular as both a household and concert instrument. For many years, the Harpsichord had accompanied other instruments, and sometimes used as a soloist. However, the pianos dynamics proved that a keyboard really could match the violin or trumpet as a solo instrument, and the piano took center stage at the concert halls of Europes cities. In the Romantic period, the piano became the most popular household instrument.

Amateurs preferred the piano because they could play melody and harmony together. The rise in popularity brought about the rise of many piano virtuosos and what has been called "the Golden Age" of the piano. Over the past 300 years, few great composers, if any, did not write for the piano, and many of them have made great careers as piano composers and virtuosos. Even today, a good piano is found in the home of almost every musician and composer, however it has disappeared from many households as the primary source of music entertainment perhaphs due to the enourmous variety of music reproduction systems which became available in the 20th century. CLAVICHORDS — Keith Hill - Instrument Maker C L A V I C H O R D S Clavichord made in 1999 by Keith Hill Opus 333 after the 1748 Frederici Over the last 43 years, I have made 57 clavichords. Yet, of all the keyboard instruments I have made, it was the search for how to make a good clavichord that was the most elusive.

One would think all you have to do is make a rectangular box, insert a keyboard, soundboard and strings, then add the tangents and you have a clavichord. Its a nice thought as long as you don't care a whit how the result sounds or plays. When I play the antique clavichords, I am struck by how sophisticated they sound and play, especially the "Bauerninstrumenten", clavichords made in the winter by farmers to keep themselves occupied. The same cannot be said of most clavichords made since 1900 as their effect is decidedly underwhelming. They either sound like a box of rubber bands and feel squishy, like playing on sponges, or they sound like a bad harpsichord with almost no sound and what sound there is has no dynamic properties. At their very best, clavichords should have the sound of thought. If this idea is new to you, focus for a while on your own thoughts and calculate how "loud" they are. Thought sounds extremely intense when empassioned with meaning. Thought ranges in volume from the faintest whisper to the loudest conceivable energy level.

It is a paradox because the clavichord is almost dismissively soft even when played loudly...but then, as you will have concluded from your brief experience with thinking this way, only we alone can hear our own thoughts. Thought changes in affect according to what is being thought about, and sings irrepressibly when moved by love or enchantment. It is for this reason that I place the quality of being enchanting as foremost of all qualities that a clavichord should have. Though not always an obvious quality, enchantment has the power to make us want to play the instrument every time we come near the instrument...like a subtle compulsion. It is what I aim for in each clavichord I build. The touch on the best clavichords I have played feels to the fingers like molding stiff yet flexible modeling clay...it yields to the fingers by assuming the shape one molds according to the gestures intended by pushing gently but firmly. The key, not to make a pun, is the word intended. The clavichord, in my view, is an intention training instrument.

The problem with most pianos, harpsichords and organs, whether mechanical or electronic, is that the sound emitted is prefabricated, which almost always encourages a kind of mindlessness in the people who play them...a sort of "let your fingers to the walking" unintentional "note punching" behavior. The effect of such note-punching is not at all musical, but forced, insensitive, crass, and cretinous. The clavichord, it seems, is the only remedy against the tendency towards "diarrhea of the fingers" because as soon as you unintentionally touch a note on a superior clavichord, the clavichord spits that note back at you in no uncertain terms. That spitting or chucking only occurs on the best instruments. Avoiding that effect requires total attention to and intention to have the note, and only the note, you want to sound without the spit-back. Allow your mind to wander even for a second and the clavichord spits your unintended note back at you. This is the reason why the clavichord was essential for training keyboardists, for longer than the piano has been an established fact.

It behooves us to remember that some the greatest composers from 1600 to about 1820 got their initiation into the realm of musical thought by learning to play on clavichords as children. Clavichord made in 2015 by Keith Hill Opus 473 after HUbert The Project Gutenberg eBook of Harpsichords and Clavichords, by Cynthia A. Hoover. Project Gutenberg's Harpsichords and Clavichords, by Cynthia A. Hoover This eBook is for the use of anyone anywhere at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at Title: Harpsichords and Clavichords Author: Cynthia A.

Hoover Release Date: May 13, 2012 [EBook #39690] Language: English Character set encoding: ISO-8859-1 *** START OF THIS PROJECT GUTENBERG EBOOK HARPSICHORDS AND CLAVICHORDS *** Produced by Chris Curnow, Turgut Dincer, Joseph Cooper and the Online Distributed Proofreading Team at CYNTHIA A. HOOVER NATIONAL MUSEUM OF HISTORY AND TECHNOLOGY Harpsichords and Clavichords Cover: Virginal by Giovanni Battista Boni, 1617 (see pages 22-25) Photo: Robert Lautman For sale by the Superintendent of Documents, U.S. Government Printing Office Washington, D.C. 20402 Price 40 cents 3 Harpsichords and Clavichords The harpsichord and the clavichord represent the two most important types of stringed keyboard instruments used from the 15th through the 18th centuries. By the 19th century, the piano had become the most important domestic keyboard instrument.

In this booklet are described a few of the restored Smithsonian harpsichords and clavichords that are occasionally on exhibit in the Hall of Musical Instruments or in use in the series of concerts sponsored by the Division of Musical Instruments. Models showing how the sound is produced on these instruments are also on exhibit. A complete list of the keyboard collection is found in A Checklist of Keyboard Instruments at the Smithsonian Institution (Washington, 1967), which is available from the Division of Musical Instruments, Smithsonian Institution, Washington ,D.C. 20560. 4 Harpsichords The harpsichord and its smaller relatives, the virginal and the spinet, have strings that are plucked. The harpsichord is wing-shaped, most virginals and spinets are either rectangular or polygonal. When the harpsichord key is pressed, a wooden jack is raised so that a quill or leather plectrum inserted into the jack tongue plucks the string. When the key is released, the jack falls back into place, the pivoted tongue allowing the plectrum to pass the string without plucking it.

A felt damper (inserted in a slit at the top of the jack) touches the string to stop the sound. Figure 1 shows the jack arrangement in an 18th century English spinet. The second jack from the left on the front row has been raised so that its quill is just about to pluck the string. Note that the quill has lifted the string above its rest position. Inherent in the design of a harpsichord is the limitation of dynamic nuance. The sound of a harpsichord is not greatly altered by increasing or lessening the impact of fingers on the keys. Rather, the dynamic level and quality of sound can be changed by varying the number of strings plucked (many harpsichords have three sets of strings: two sets tuned in unison [8′] and a third tuned an octave higher [4′]), by varying the location of the plucking point, and by muting the strings with felt or leather pads. The tone of a keyboard instrument is also affected by its 5 general outline, the material and thickness of the soundboard, the length and material of the strings, and the type of case construction.

The case must be strong enough to counteract the tension of the strings and yet light enough to allow the sound to resonate. 1. Harpsichord action. Photo: Robert Lautman. Among the Smithsonian’s extensive keyboard collection are fine examples of harpsichords that represent several of the major national trends in harpsichord building: the Flemish, Italian, English, and French. 6 Flemish Harpsichords Antwerp was the harpsichord-making center of northern Europe during the 16th and 17th centuries. The earliest examples of harpsichords had only one keyboard and one or two sets of 8′ strings. The progressive Flemish makers added a second keyboard and another set of strings, tuned an octave higher than the others, which allowed a wider range in pitch and more variety in sound. Later French and English harpsichords were largely derived from the Flemish style. Virginal, 1620; made by Andreas Ruckers, Antwerp One manual; Range C/E-c3 (apparent); 1×8′ 2. Ruckers virginal: Plan view. 5. Ruckers virginal: View of soundboard and lid.

Photo: Robert Lautman Instruments built by the famous Ruckers family were and are still highly prized. Although simply painted on the exterior, the case of this virginal is decorated on the inside in characteristic Ruckers style. Block-printed papers cover the interior 9 of the case; the inside of the lid bears a Latin motto and the soundboard is painted with flowers and arabesques. Figure 4 illustrates a detail of the block printing, and of the keys. The arcades on the end of the keys appear to be cut from several layers of leather which were then applied to the key fronts. This instrument is tuned a fourth higher than it might appear. When the C key is pressed, the note sounded is F, a fourth above. Short-Octave Tuning Since chromatic notes in the lowest octave of the keyboard were not often needed in the music of the 16th and 17th centuries, the practice of short-octave tuning was adopted. Although the lowest note on a short-octave instrument appears to be E, the range was actually extended down to C.

(The notation C/E indicates this arrangement.) NORMAL TUNING SHORT-OCTAVE TUNING A typical short-octave instrument of the 16th and 17th centuries would be tuned in the following manner: E (1) is tuned down to C (I); F♯ (2) tuned to D (II); and G♯ (3) tuned to E (III). 10 Harpsichord, 1745; made by Johann Daniel Dulcken, Antwerp Two manuals; Range FF-f3; 2×8′, 1×4′, lute Typical of northern European instruments, the Dulcken harpsichord has a heavy case, two keyboards or manuals, and two 8′ choirs and one 4′ choir. It also has a lute stop, whose jacks, very close to the nut, pluck one set of unison strings to produce a pungent, nasal tone. 6. Dulcken harpsichord: Full view. Photo: Robert Lautman 14 Italian Harpsichords Typical Italian harpsichords had two choirs of unison strings and two jacks for each key.

They were of much lighter construction than those made in northern Europe—the sides of the case were only about an eighth of an inch thick. These fragile instruments were usually placed in heavier, often elaborately decorated, outer cases from which the harpsichord could be removed. Harpsichord, 1693; maker unknown, Italy One manual; Range GG-c3 (no GG♯); 2×8′ The typical construction of Italian harpsichords can be seen in this large Italian instrument. The original nameboard is missing; however, as was common practice, the maker marked the date on the tail of the lowest and highest keys. The Italian harpsichord serves as an ideal basso continuo keyboard instrument because it blends well in instrumental combinations. Its clean, crisp sound also allows individual lines to emerge clearly from a polyphonic musical texture. 18 Harpsichord, 1694; made by Nicolaus DeQuoco, Italy One-manual: Range C-c3 (no C♯); 2×8′, 1×4′ This instrument is one of the few examples of an Italian harpsichord with a third set of strings tuned an octave higher than the two unison choirs.

It is possible that the third set was added to this instrument sometime after it was constructed with two unison registers. Figure 15 shows the instrument before restoration; Figures 14 and 16 show the restored harpsichord removed from its heavy outer case and details of the handsome keyboard and moldings typical of Italian instruments. 14. DeQuoco harpsichord: Plan view. 22 Virginal, 1617; made by Giovanni Battista Boni, Cortona One manual; Range C/E-f3; 1×8′ The smaller virginals and spinets were commonly found in homes of modest means, as well as in royal courts. This polygonal virginal has six split keys which represent a complicated tuning scheme. Keys 1-2: This is a system of short-octave tuning (see Ruckers Virginal) in which the two lowest accidentals are split into two sections. The back section is tuned to the apparent accidental, the front section to the short octave.

Thus, on the Boni, the back section of the bottom split key is tuned F♯, the front section is tuned D; the back section of the second lowest split key is tuned A♭, the front section is tuned E. Keys 3-6: The top four keys are split to provide for enharmonic tuning—that is, both D♯ and E♭, G♯ and A♭. In the meantone system of tuning, which was the prevailing tuning of the time, scales distant from the key of C were often out of tune. To improve the intonation of these scales, some makers divided some of the accidental keys to provide alternate tunings. 26 English Harpsichords In the 18th century, London became a center of harpsichord making. The two most important makers, Jacob Kirckman and Burkat Shudi, were Swiss immigrants who first apprenticed with Hermann Tabel, a Flemish harpsichord maker who had also emigrated to England. In America, where English culture was highly regarded, Thomas Jefferson owned a Kirckman harpsichord, Francis Hopkinson a Shudi and Broadwood.

The heavy cases of the typical English instruments were veneered in walnut, mahogany, and later satinwood, and rested on trestle stands. The usual range was five octaves: FF-f3 for harpsichords; GG-g3 for spinets (and organs). In general, the sound produced on an English harpsichord is more thick and lush than the sound of instruments from other European centers. Spinet, about 1710; made by Thomas Hitchcock, London One manual; Range GG-g3; 1×8′ The spinet, a member of the harpsichord family, was a popular domestic keyboard instrument in England and America during the 18th century and was mentioned in many American diaries and inventories of that time. The spinet often served as the keyboard instrument for the household that could not afford or did not have room for the harpsichord or organ. The Hitchcock family supplied many spinets for early 18th-century gentility. Note in Figure 24 the handsome brass hinges, one of many examples of the beautiful hardware used by English builders. This instrument is quilled with crow quill, the most common material used for plectra at that time.

A detail of the jacks and stringing is shown in Figure 1. 29 Harpsichord, about 1743; made by Burkat Shudi, London Two manuals; Range FF-f3 (no FF♯; 2×8′, 1×4′, lute, buff Most of the stops on early harpsichords were changed by hand. From left to right, the stop knobs shown in Figure 25 operate the following registers: lute, octave (4′), buff (muting the second unison by pressing soft leather pads against the strings), first unison (8′), and second unison (8′). The lute stop plays from the upper manual, the first unison from both manuals, and the remaining stops from the lower manual. Figures 25 and 26 show the instrument before restoration. The name batten on which the date of 1747 appears is not original to the instrument. The date of the instrument is based on the serial number 144 stamped on the lower keyboard. From all records it appears Shudi would have built an instrument with that serial number in 1743. 25.

Shudi harpsichord: View of keyboards. 27. Shudi harpsichord: Full view. French Harpsichords Although Paris claimed many harpsichord builders, few French harpsichords remain today. Many were destroyed at the time of the Revolution and later when firewood was needed to heat Conservatoire classrooms. French builders, the most famous among them the Blanchet family and Pascal Taskin, spent much of their time reconstructing Ruckers harpsichords to satisfy the musical and decorative tastes of 18th-century France. Included in this reconstruction or ravalement were the extension of compass (usually from C-c3 to FF-f3), enlargement of the case and soundboard, and often replacement of keyboards, jacks, and registers. Housed in elegantly painted cases supported by cabriole or fluted legs, typical French harpsichords had two manuals and were praised for their lightness of touch. Later 18th-century developments included a fourth register called peau de buffle (plectra of soft chamois-type leather) and knee levers to operate the registers.

Harpsichord, 1760; made by Benoist Stehlin, Paris Two manuals; Range FF-f3; 2×8′, 1×4′, buff, shove coupler In recent years the Smithsonian was fortunate to acquire one of the few remaining French harpsichords. The builder’s name is known from the design on the soundboard rose which includes the initials “B” and “S”; also, the name “Benoist Stehlin” is inscribed on two of the jacks. The 1760 date is painted on the left side of the soundboard. An inventory of Stehlin’s workshop and house made at the time of his death in 1774 lists a Ruckers harpsichord altered by Stehlin along with several other instruments in various stages of completion. Figures 28 and 30 show the instrument before its restoration. 36 Clavichords Dynamic shadings are possible in the clavichord, as in the piano, through variation of finger pressure. In both, the strings are struck—by metal tangents in the clavichord and by leather or felt hammers in the piano.

In the clavichord the strings extend over a soundboard bridge on the player’s right and are damped (stopped from vibrating) by strips of cloth on the left. The metal hammer (tangent) mounted in the end of the key strikes the string and continues to touch it as long as the player presses the key. The tangent, while touching the string, divides it into two segments—the segment on the right being free to vibrate, the segment on the left being damped by the cloth. When the key is released, the cloth damps the entire string. Figure 31 shows a player depressing a clavichord key (middle c). The tangent at the far end of the key lever has been raised so that it has struck the strings and has lifted them above rest position. The damping cloth on the left of this raised string can also be seen. Known as early as the 15th century, the clavichord produces tones, though limited in volume, that are very expressive and even capable of vibrato (Bebung). Because it lacks carrying power, the clavichord historically was a solo or practice instrument, for it could not be heard in combination with other instruments or with the voice.

38 Fretted Clavichord, about 1700; maker unknown, Germany Unfretted Clavichord, 18th century; maker unknown, Germany The clavichord was usually housed in a rectangular case which rested upon a simple stand. The range of the earlier instruments was about four octaves. By the 18th century the range had been expanded to five octaves. The larger, later clavichords had separate strings for each key and were unfretted or bundfrei. Many smaller and earlier clavichords were fretted (gebunden), having some strings that would produce more than one pitch when struck at different points by adjacent keys. Figure 32 shows the fretted clavichord keyboard in more detail. Tangents on keys numbered 16 and 17 strike the same strings to produce the notes e♭ and e.

Some other fretted notes shown in the picture include: keys 18 and 19 (f and f♯), keys 20 and 21 (g and g♯), keys 23 and 24 (b♭ and b), and keys 25 and 26 (middle c and c♯). Figure 31 is also a detail from this clavichord. The Smithsonian clavichord shown in Figures 35 and 36, in unrestored condition, is typical of the large unfretted instruments that became standard in Germany by the mid-18th century and for which Carl Philipp Emanuel Bach wrote many solo keyboard compositions. 42 By the beginning of the 18th century the desire was strong for a more expressive keyboard instrument to use in ensembles. Harpsichord builders added new stops, devised special leather plectra, and added Venetian swell effects and other innovations to alter the sound of the harpsichord. But no matter what they did, they could not produce enough dynamic gradation to satisfy musical taste. The clavichord was capable of dynamic nuance, but it lacked carrying power.

Instrument builders, seeking to satisfy the demands created by the change in sensibility and musical taste, turned naturally to the domestic instruments they knew best—the harpsichord and clavichord—as the process of adaptation began. For this reason, as the pianoforte was developed and perfected, the general proportions and arrangement of the grand piano resembled those of the harpsichord. Similarly, the relation between the keyboard and strings, the scaling, and other features of the square piano resembled those of the clavichord. By the beginning of the 19th century the pianoforte, an instrument capable of subtle changes between soft and loud, had become the most important domestic and concert keyboard instrument. After 1800 few clavichords or harpsichords were built or used until they were revived by early music enthusiasts at the end of the 19th century. 43 Selected Bibliography Boalch, Donald. Makers of the Harpsichord and Clavichord. London: George Ronald, 1955. Hirt, Franz Josef. Meisterwerke des Klavierbaus. Olten, Switzerland: Urs Graf-Verlag, 1955. Hubbard, Frank.

Harpsichord Regulating and Repairing. Boston: Tuner’s Supply, Inc., 1963. Hubbard, Frank. Three Centuries of Harpsichord Making. Cambridge, Massachusetts: Harvard University Press, 1965. James, Philip. Early Keyboard Instruments. London: Peter Davies, 1930. Ripin, Edwin M. “The Early Clavichord,” Musical Quarterly, 53(4) (October 1967): 518-538. Russell, Raymond. The Harpsichord and the Clavichord. London: Faber and Faber, 1959. Shortridge, John D. “Italian Harpsichord-Building in the 16th and 17th Centuries.” United States National Museum Bulletin, 225 (15): 93-107, 1960. End of Project Gutenberg's Harpsichords and Clavichords, by Cynthia A.

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Project Gutenberg-tm eBooks are often created from several printed editions, all of which are confirmed as Public Domain in the U.S. unless a copyright notice is included. Thus, we do not necessarily keep eBooks in compliance with any particular paper edition. Most people start at our Web site which has the main PG search facility: This Web site includes information about Project Gutenberg-tm, including how to make donations to the Project Gutenberg Literary Archive Foundation, how to help produce our new eBooks, and how to subscribe to our email newsletter to hear about new eBooks. The LUTE-HARPSICHORD: A Forgotten Instrument Learn about one of Bach's favourite keyboard instruments which is now almost impossible to hear on record. It's a truly wonderful instrument with a deep, rich and resonant sound. No wonder Bach had one custom-built to his own specifications. Over a period of some three centuries there are plenty of references to gut-stringed instruments that resemble the harpsichord and imitate the delicate soft timbre of the lute (including its lower-sounding variants, the theorbo and chitarrone or archlute) or the harp, but little concrete information.

Not a single such instrument has survived, nor is any contemporary depiction known apart from a rough engraving of the early 16th century. Fewer than ten lute-harpsichord makers are known, and there are reasonably detailed descriptions of instruments made by only two or three of them. Nonetheless, the instrument is mentioned fairly frequently in music books of the early 17th to the mid-18th century. Much of the available information relates to three 18th century German instrument makers: Johann Christoph Fleischer of Hamburg, Johann Nicolaus Bach and the organ builder Zacharias Hildebrandt. Fleishcer built two types of instrument. The smaller had two 8-foot gut-stringed stops with a compass of about three octaves; in the lower two octaves these could be coupled with a 4-foot stop, by analogy with the pairs of octave-tuned bass strings (courses) on the lute. Below the soundboard of the instrument an oval resonator in the shape of a shell, resembling the body of a lute was attached. Fleischer called his larger instrument the "Theorbenflugel" (theorbo-harpsichord).

Its two gut-stringed stops together made up a double-tuned, 16-foot stop, with the pairs in the lower octave-and-a-half tuned an octave apart, and in the upper range in unison. In addition there was a 4-foot metal-stringed stop, and the combination of the 4-foot and the 16-foot stops produced a "delicate and bell-like" tone. This larger instrument was in the shape of a regular concert harpsichord. Johann Nicolaus Bach (a second cousin of Johann Sebastian) was a composer, organist and instrument maker in Jena. He too built several types of lute-harpsichord. The basic type closely resembled a small wing-shaped, one-manual harpsichord of the usual kind. It only had a single (gut-stringed) stop, but this sounded a pair of strings tuned an octave apart in the lower third of the compass and in unison in the middle third, to approximate as far as possible the impression given by a lute. The instrument had no metal strings at all. According to contemporary accounts, even this simplest of versions made a sound that could deceive a professional lutenist, a fact considered almost miraculous at the time.

But a basic shortcoming was the absence of dynamic expression, and to remedy matters J. N. Bach also made instruments with two and three manuals, whose keys sounded the same strings but with different quills and at different points of the string, so providing two or three grades of dynamic and timbre. J. N. Bach also built theorbo-harpsichords with a compass extending down an extra octave. J.S. Bach's connection with and interest in the Lautenwerk was considerable. He clearly liked the combination of softness with strength which these instruments are capable of producing, and he is known to have drawn up his own specifications for such an instrument to be built for him by Hildebrandt. In an annotation to Adlung's Musica mechanica organoedi, Johann Friedrich Agricola described a Lautenwerk that belonged to Bach: The editor of these notes remembers having seen and heard a "Lautenclavicymbel" in Leipzig in about 1740, designed by Mr. Johann Sebastian Bach and made by Mr. Zacharias Hildebrand, which was smaller in size than a normal harpsichord but in all other respects similar.

It had two choirs of gut strings, and a so-called little octave of brass strings. It is true that in its normal setting (that is, when only one stop was drawn) it sounded more like a theorbo than a lute. But if one drew the lute-stop (such as is found on a harpsichord) together with the cornet stop [?the 4' brass stop undamped], one could almost deceive professional lutenists.� The inventory of Bach's possessions at the time of his death reveals that he owned two such instruments, as well as three harpsichords, one lute and a spinet. Of the few attempts to reconstruct and record a lute-harpsichord, one of the more successful is the instrument built by the Hungarian player Gergely Sárközy, an initial sketch of which appears as the heading to this page. His beautiful instrument gives a truly wonderful sound, very rich and sonorous but with a soft attack.

The Baroque Music Club has produced a recording entitled Bach's Domestic Keyboard Instruments, BACH 740 in which some important though lesser-known Bach keyboard and lute works are performed on harpsichord, pedal-harpsichord, clavichord, lute, and lute-harpsichord by Gunnar Johansen, Michael Thomas and Gergely Sárközy. The accompanying note explains the technical differences in construction of the different instruments. Gergely Sárközy's lutes were built for him by Hungarian instrument maker Tihamer Romanek whose father, Andras, was the very first to make lutes in Hungary. The craftmanship of lutherie enchanted Tihamer, who following his graduation as an instrument maker, decided to explore the construction of a lute-harpsichord. Among other instruments, he now offers two models of lute-harpsihcord from his own workshops.

History of the Piano | Pianonet History of the Piano Contact Us History of the Piano The story of the piano begins in Padua, Italy in 1709, in the shop of a harpsichord maker named Bartolomeo di Francesco Cristofori (1655-1731). Many other stringed and keyboard instruments preceded the piano and led to the development of the instrument as we know it today. Mankind’s knowledge that a taut, vibrating string can produce sound goes back to prehistoric times. In the ancient world, strings were attached and stretched over bows, gourds, and boxes to amplify the sound; they were fastened by ties, pegs and pins; and they were plucked, bowed or struck to produce sounds. Eventually, a family of stringed instruments with a keyboard evolved in Europe in the 14th century. The earliest of these was a dulcimer, a closed, shallow box over which stretched wires were struck with two wooden hammers. The dulcimer led to the development of the clavichord, which also appeared in the 14th century.

These were followed by the spinet, virginal, clavecin, gravicembalo, and finally, the harpsichord in the 15th century. The harpsichord, however, was limited to one, unvarying volume. Its softness and loudness could not be varied while playing. Therefore, performing artists could not convey the same degree of musical expression as that of most other instruments. The artistic desire for more controlled expression led directly to the invention of the piano, on which the artist could alter the loudness and tone with the force of one’s fingers. The harpsichord was a particularly important development leading to the invention of the piano. Its ability to project sound more loudly than its predecessors, and refinements in the action (or touch) inspired many more musicians to compose for the keyboard and thus, to perform keyboard works. First exhibited in Florence in 1709, Cristofori’s new instrument was named gravicembalo col piano e forte (roughly “soft and loud keyboard instrument”). Eventually, it was shortened to fortepiano or pianoforte, and finally just piano.

His earliest surviving instrument dates from 1720 and is on display at the Metropolitan Museum of Art in New York City. Despite many improvements during the past 300 years, it is truly astonishing to observe how similar Cristofori’s instruments are to the modern piano of today. New Technology in Pianos We are living in perhaps the most exciting time in history to buy, own or play that eternal instrument, the piano. Whether your goal is to purchase something as small as software that can record what you play, a newly designed player piano, a digital instrument or a classic acoustic model, there have never been as many choices for the consumer. Player Pianos Also called “reproducing pianos,” this class of instrument represents a modern update on the paper-roll player pianos you remember from old movies, and they’ve grown enormously in popularity over the last decade. These are not digital instruments – they’re real, acoustic pianos with hammers and strings that can be played normally – but they can also “play themselves” using sophisticated electronic technology. Instead of punched paper, they take their cues from floppy disks, specially formatted CDs or internal memory systems.

Several manufacturers offer vast libraries of pre-recorded titles for their systems—music in every genre from pop to the classics—recorded by some of the world’s top pianists. These sophisticated systems capture every nuance of the original performances and play them back with startling accuracy—providing something that’s actually much better than CD fidelity, because the performances are live. Thanks to these new systems, many people who don’t play the piano are enjoying live piano music any time of the night or day. Whether they’re accompanying dinners for two or entertaining a houseful of partygoers, these high tech pianos take center stage. For people who do play the piano, these systems can be used to record their own piano performances, interface with computers, aid in music education, assist with composing and many other applications. In short, these modern marvels are not your grandfathers’ player pianos! Digital Pianos To the uninitiated, digital pianos may appear related to the inexpensive toy keyboards than can be purchased over the counter at electronics stores. But that’s like comparing a go-kart with a fancy touring sedan. The digital pianos produced by many of today’s top piano companies produce sophisticated, sampled piano sounds taken from their own top models.

What’s more, they offer other instrument voices – sometimes by the hundreds – with striking realism. Because digital pianos are software-driven, they also open up exciting new ways for beginners to make music. For example, some keyboards feature lights over the keys to help you play a favorite tune, or learning programs that combine the music with an on-screen display. Digital pianos help home musicians get more out of the Internet as well, and they can be connected not only to a computer, but to other instruments for arranging and orchestration. With memory storage setups such as Flash ROM, users can download and store new music. There are also a number of digital pianos that offer a variety of unique functions—such as providing you with a lot of different preset and combo sounds, ones that can give you a layering effect to your playing. Some of these instruments also include a Karaoke/Video output for the next time you want to put a little life in your party. Software There is probably no more exciting area of growth in the piano industry than that of software technology.

Science fiction writers of the past would be impressed by today’s advancements – like software that converts music files to sheet music… downloads and unzips music files and Karaoke files from the Internet… or even lets musicians print entire musical scores and analyze their harmonies and chord names. Today’s software will even let users shop for, purchase and print sheet music over the Internet, if you can’t find the score in a store. Kurt Vonnegut, who wrote “Player Piano” in the 50s, would not believe the new software that currently exists for these instruments. For example, there is now software for the piano that will allow it to load hours of pre-recorded music, with no discs or CDs to change; everything from jazz to the classics. Should you be looking for music by a specific pianist, you will be able to find it: everyone from Floyd Cramer to Peter Nero is represented, and can keep your piano (or your get-together) humming. But software is not just for the player piano. For the budding composer, there is also new technology galore. For instance, the first ensemble piano that features CD-R technology is now available.

This piano has the capability of CD-R – meaning you can put a disc in this piano, record a CD of a song you have written or played, and, immediately play the disc back in your boom box or PC. And not just keyboard sounds; vocals, too, can be ‘burned,’ enabling any budding songwriter to produce a 16 track studio-quality ‘demo.’ Synthesizers are still very popular among jazz and rock musicians. Among the newest is a synth that offers multiple oscillator technologies and has real-time control over pitch, time and format. There are also synthesizers that give players the ability to control audio with the same flexibility as any music file, all due to new technology. This new software can take on all sorts of new musical and recording functions. The Traditional Piano And what of traditional concert pianos? Have they been lost in the technological shuffle? Far from it. With countless artists from Bruce Hornsby to Michael Feinstein using them, the acoustic piano is still very much in demand. While the basic design of the acoustic piano is remarkably simila to the first models from around 1700, manufacturers are including innovations at a rapid pace.

Some of the updates draw on materials science, to find special woods or newly available materials that make a piano more durable and tonally stable. Some use engineering know-how to strengthen the piano and keep its sound deep and rich for years. And 300 years of experience with the mechanics of a piano’s action has resulted in keyboards that feel great and stay in tune better. Concert grands are used by numerous conductors, composers and songwriters—and are more available and affordable than ever. And although concert grands are the choice of performers, there are many high quality baby grands that are designed to meet the needs of the home owners and players of all levels. Whether you are looking for a compact instrument or a larger one renowned for its lower register and power – whether you want a piano than can keep up with the loudest orchestra, one that re-creates a classic style from the past, or an instrument made of a particular kind of wood – you should have no trouble finding the traditional piano that suits your needs.

It’s very clear in 2004, that whether you want to play, record, mix, have a player piano entertain you, or sit down and practice Brahms or Bach, there probably has never been a period in which the piano has been available in so many different and useful forms. Whatever your musical needs, there is a piano (and perhaps software) out there waiting for you. Search for… Advertise with us About Pianonet Who plays the piano? All kinds of people! Of course professional pianists first come to mind, or children taking lessons. The proven benefits of playing the piano are widely recognized by a large portion of the population... > Read More Publications Check out our publications about learning the piano and caring for your instrument.... > Read More Contact Us 14070 Proton Rd., Suite 100 Dallas, TX 75244

Question: A clavichord is what type of instrument?
Answer: Keyboard