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693:(8') sound at the normal expected pitch, strings at four-foot pitch (4') sound an octave higher. Harpsichords occasionally include a sixteen-foot (16') choir (one octave lower than eight-foot) or a two-foot (2') choir (two octaves higher; quite rare). When there are multiple choirs of strings, the player is often able to control which choirs sound. This is usually done by having a set of jacks for each choir, and a mechanism for "turning off" each set, often by moving the upper register (through which the jacks slide) sideways a short distance, so that their plectra miss the strings. In simpler instruments this is done by manually moving the registers, but as the harpsichord evolved, builders invented levers, knee levers and pedal mechanisms to make it easier to change registration.
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sculptural moldings and knobs (Italy). Soundboards bore paintings, either of individual items such as flowers and animals (Flanders, also France), or even (in expensive instruments), full-scale paintings of the kind usually executed on canvas. Keyboards could have the same "white keys" and "black keys" that pianos have today, but builders frequently employed the opposite pattern, with white sharps and black naturals. The study of harpsichord decoration became an important scholarly field in the 20th century, notably with the work of
Sheridan Germann (2002), whose knowledge extended to the point of being able to pin down the particular anonymous artists who worked with particular builders.
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The jacks are similar, but they will benefit from being arranged back to back, since the two octaves take as much space as four in an ordinary harpsichord Prior to 1980 when Keith Hill introduced his design for a pedal harpsichord, most pedal harpsichords were built based on the designs of extant pedal pianos from the 19th century, in which the instrument is as wide as the pedalboard. While these were mostly intended as practice instruments for organists, a few pieces are believed to have been written specifically for the pedal harpsichord. However, the set of pedals can augment the sound from any piece performed on the instrument, as demonstrated on several albums by
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471:, often made of plastic in the 21st century), which plucks the string. When the player releases the key, the far end returns to its rest position, and the jack falls back; the plectrum, mounted on a tongue mechanism that can swivel backwards away from the string, passes the string without plucking it again. As the key reaches its rest position, a felt damper atop the jack stops the string's vibrations. These basic principles are explained in detail below.
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so light in construction that they were treated rather like a violin: kept for storage in a protective outer case, and played after taking it out of its case and placing it on a table. Such tables were often quite high â until the late 18th century people usually played standing up. Eventually, harpsichords came to be built with just a single case, though an intermediate stage also existed: the
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vary tonal quality. Volume is increased when the mechanism of the instrument is set up by the player (see below) so that the press of a single key plucks more than one string. Tonal quality can be varied in two ways. First, different choirs of strings can be designed to have distinct tonal qualities, usually by having one set of strings plucked closer to the nut, which emphasizes the higher
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1044:(1722) , Book One, chapter five, for insight into French baroque tuning; "Since most of these semitones are absolutely necessary in the tuning of organs and other similar instruments, the following chromatic system has been drawn up." Tuning an instrument nowadays usually starts with setting an A; historically it would commence from a C or an F. The harpsichord uses the bass clef (F clef).
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that a player can have, for instance, an 8' manual and a 4' manual ready for use, enabling him to switch between them to obtain higher (or lower) pitches or different tone. In addition, such harpsichords often have a mechanism (the "coupler") that couples manuals together, so that a single manual plays both sets of strings.
502:. These are two long strips of wood (the upper movable, the lower fixed), which run in the gap between pinblock and bellyrail. The registers have rectangular mortises (holes) through which the jacks pass as they can move up and down. The registers hold the jacks in the precise location needed to pluck the string.
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The first music written specifically for solo harpsichord was published around the early 16th century. Composers who wrote solo harpsichord music were numerous during the whole
Baroque era in European countries including Italy, Germany, England and France. Solo harpsichord compositions included dance
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uses percussion, the strings being struck with leathered paper hammers instead of being plucked. The fortepiano is capable of changes in dynamic volume, giving it its name. This is unlike the harpsichord. By the late 18th century the harpsichord was supplanted by the piano and almost disappeared from
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The case also gives the harpsichord its external appearance and protects the instrument. A large harpsichord is, in a sense, a piece of furniture, as it stands alone on legs and may be styled in the manner of other furniture of its place and period. Early
Italian instruments, on the other hand, were
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The wooden case holds in position all of the important structural members: pinblock, soundboard, hitchpins, keyboard, and the jack action. It usually includes a solid bottom, and also internal bracing to maintain its form without warping under the tension of the strings. Cases vary greatly in weight
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chords were seldom used at this time. In contrast, low C and D, both roots of very common chords, are sorely missed if a harpsichord with lowest key E is tuned to match the keyboard layout. When scholars specify the pitch range of instruments with this kind of short octave, they write "C/E", meaning
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The
English "dogleg" jack system (also used in Baroque Flanders) does not require a coupler. The jacks labeled A in Figure 5 have a "dogleg" shape that permits either keyboard to play A. If the player wishes to play the upper 8' from the upper manual only and not from the lower manual, a stop handle
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The most flexible system is the French "shove coupler", in which the lower manual slides forward and backward. In the backward position, "dogs" attached to the upper surface of the lower manual engage the lower surface of the upper manual's keys. Depending on choice of keyboard and coupler position,
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Harpsichords with more than one keyboard (this usually means two keyboards, stacked one on top of the other in a step-wise fashion, as with pipe organs) provide flexibility in selecting which strings play, since each manual can be set to control the plucking of a different set of strings. This means
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When the key is released, the jack falls back down under its own weight, and the plectrum passes back under the string. This is made possible by having the plectrum held in a tongue attached with a pivot and a spring to the body of the jack. The bottom surface of the plectrum is cut at a slant; thus
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Some modern instruments are built with keyboards that can shift sideways, allowing the player to align the mechanism with strings at either A = 415 Hz or A = 440 Hz. If a tuning other than equal temperament is used, the instrument requires retuning once the keyboard is
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which trigger the plucking of the lowest-pitched keys of the harpsichord. Although there are no known extant pedal harpsichords from the 18th century or before, from Adlung (1758): the lower set of usually 8' strings "...is built like an ordinary harpsichord, but with an extent of two octaves only.
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The
Flemish instruments served as the model for 18th-century harpsichord construction in other nations. In France, the double keyboards were adapted to control different choirs of strings, making a more musically flexible instrument (so-called 'expressive doubles'). Instruments from the peak of the
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A spinet is a harpsichord with the strings set at an angle (usually about 30 degrees) to the keyboard. The strings are too close together for the jacks to fit between them. Instead, the strings are arranged in pairs, and the jacks are in the larger gaps between the pairs. The two jacks in each gap
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Figure 4. French shove coupler. To the left: uncoupled keyboards. The depressed upper key lifts the jack A upwards. The depressed lower key lifts jacks B and C. To the right: The upper keyboard is coupled to the lower one by pulling the latter. The depressed upper key lifts the jack A upwards. The
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While many harpsichords have one string per note, more elaborate harpsichords can have two or more strings for each note. When there are multiple strings for each note, these additional strings are called "choirs" of strings. This provides two advantages: the ability to vary volume and ability to
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Throughout the historical period, the harpsichord was characteristically decorated; for extensive discussion and illustration see
Kottick (2003). Cases were painted in bright colors (especially in 18th century France), or covered with elaborate wood veneer (18th century England), or adorned with
674:) permits the player to select one choir or the other. Second, having one key pluck two strings at once changes not just volume but also tonal quality; for instance, when two strings tuned to the same pitch are plucked simultaneously, the note is not just louder but also richer and more complex.
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apart. This is normally heard by the ear not as two pitches but as one: the sound of the higher string is blended with that of the lower one, and the ear hears the lower pitch, enriched in tonal quality by the additional strength in the upper harmonics of the note sounded by the higher string.
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828:, which for purely aesthetic reasons was built to look as if the outer case contained an inner one, in the old style. Even after harpsichords became self-encased objects, they often were supported by separate stands, and some modern harpsichords have separate legs for improved portability.
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946:. Harpsichords at octave pitch were more common in the early Renaissance, but lessened in popularity later on. However, the ottavino remained very popular as a domestic instrument in Italy until the 19th century. In the Low Countries, an ottavino was commonly paired with an
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virginals, encased in a small cubby under the soundboard of the larger instrument. The ottavino could be removed and placed on top of the virginal, making, in effect, a double manual instrument. These are sometimes called 'mother-and-child' or 'double' virginals.
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Twentieth-century efforts to revive the harpsichord began with instruments that used piano technology, with heavy strings and metal frames. Starting in the middle of the 20th century, ideas about harpsichord making underwent a major change, when builders such as
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Harpsichords vary in size and shape, but all have the same basic mechanism. The player depresses a key that rocks over a pivot in the middle of its length. The other end of the key lifts a jack (a long strip of wood) that holds a small
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Through the 19th century, the harpsichord was almost completely supplanted by the piano. In the 20th century, composers returned to the instrument, as they sought out variation in the sounds available to them. Under the influence of
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buttons which add or remove additional octaves. Some harpsichords may have a buff stop, which brings a strip of buff leather or other material in contact with the strings, muting their sound to simulate the sound of a plucked
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The harpsichord was most likely invented in the late Middle Ages. By the 16th century, harpsichord makers in Italy were making lightweight instruments with low tension brass stringing. A different approach was taken in the
645:. The soundboard efficiently transmits the vibrations of the strings into vibrations in the air; without a soundboard, the strings would produce only a very feeble sound. A string is attached at its far end by a loop to a
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Harpsichords and More. Harpsichords, Spinets, Clavichords, Virginals. Portraits of a
Collection. The Beurmann Collection in the Museum fĂŒr Kunst und Gewerbe, Hamburg, and at the Estate of Hasselburg in East Holstein,
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family. Their harpsichords used a heavier construction and produced a more powerful and distinctive tone with higher tension steel treble stringing. These included the first harpsichords with two keyboards, used for
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juts out almost horizontally (normally the plectrum is angled upwards a tiny amount) and passes just under the string. Historically, plectra were made of bird quill or leather; many modern harpsichords have plastic
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627:. As with the nut, the horizontal position of the string along the bridge is determined by a vertical metal pin inserted into the bridge, against which the string rests. The bridge itself rests on a
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Harpsichords have been decorated in a great many different ways: with plain buff paint (e.g. some
Flemish instruments), with paper printed with patterns, with leather or velvet coverings, with
1197:(1756â1791), wrote harpsichord music. For both, the instrument featured in the earlier period of their careers, and was largely supplanted by the piano starting roughly in the late 1770s.
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The virginal is a smaller and simpler rectangular form of the harpsichord having only one string per note; the strings run parallel to the keyboard, which is on the long side of the case.
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disengages the jacks labeled A and engages instead an alternative row of jacks called "lute stop" (not shown in the Figure). A lute stop is used to imitate the gentle sound of a plucked
1034: = 440 Hz. An accepted exception is for French baroque repertoire, which is often performed with a = 392 Hz, approximately a semitone lower again. See
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588:. A decorative rose descends below the soundboard in which it is mounted; the soundboard itself is adorned with floral painting around the rose. The bridge is at lower right.
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922:. In a clavicytherium, the jacks move horizontally without the assistance of gravity, so that clavicytherium actions are more complex than those of other harpsichords.
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Figure 5. Dogleg jack, English coupler system. When depressed, the upper key lifts the "dogleg" jack (jack A) upwards. The lower key lifts all three jacks A, B, and C.
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sought to re-establish the building traditions of the
Baroque period. Harpsichords of this type of historically informed building practice dominate the current scene.
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and sturdiness: Italian harpsichords are often of light construction; heavier construction is found in the later
Flemish instruments and those derived from them.
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An authoritative survey by a leading builder of how early harpsichords were built and how the harpsichord evolved over time in different national traditions.
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1914:. A study (written in English and German) of harpsichord building by a leading figure in the modern revival of historically authentic methods of building.
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387:, are among the most widely admired of all harpsichords, and are frequently used as models for the construction of modern instruments. In England, the
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Harpsichord with double keyboard. The inside of the lid is decorated with two original paintings depicting the battle between Apollo and Pan based on
44:(1590). The front cover shows Apollo and the Muses on Mount Helicon. The exterior was repainted with red chinoiserie decoration in the 18th century.
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1627:"Model IX is the famous double virginal. An ottavino of model VIII is inserted into the case of the virginal like a drawer slipping into a bureau."
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The use of multiple manuals in a harpsichord was not originally provided for the flexibility in choosing which strings would sound, but rather for
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197:. The basso continuo part acted as the foundation for many musical pieces in this era. During the late 18th century, with the development of the
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in the 19th century) the harpsichord gradually disappeared from the musical scene (except in opera, where it continued to be used to accompany
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A clavicytherium is a harpsichord with the soundboard and strings mounted vertically facing the player, the same space-saving principle as an
819:. The false inner case begins to the right of the keyboard, and continues backward only far enough to provide a slot to support the jack rail.
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when the descending plectrum touches the string from above, the angled lower surface provides enough force to push the tongue backward.
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1145:(1685â1757) began his career in Italy but wrote most of his solo harpsichord works in Spain; his most famous work is his series of
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795:, known as "G/B', the apparent lowest key B is tuned to G, and apparent C-sharp and D-sharp are tuned to A and B respectively.
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Occasionally, harpsichords were built which included another set or sets of strings underneath and played by foot-operated
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1169:), continue to be performed very widely, often on the piano. Bach was also a pioneer of the harpsichord concerto, both in
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670:, and produces a "nasal" sound quality. The mechanism of the instrument, called "stops" (following the use of the term in
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When the front of the key is pressed, the back of the key rises, the jack is lifted, and the plectrum plucks the string.
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is a thin, rectangular piece of wood that sits upright on the end of the keylever. The jacks are held in place by the
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The great bulk of the standard repertoire for the harpsichord was written during its first historical flowering, the
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When the jack arrives in fully lowered position, the felt damper touches the string, causing the note to cease.
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than later ones, although there are many exceptions. The largest harpsichords have a range of just over five
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shows a characteristic practice of his time, with the instrument mounted on a table and the player standing.
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In France, a great number of highly characteristic solo works were created and compiled into four books of
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instrument and as a soloing instrument. During the Baroque era, the harpsichord was a standard part of the
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was an instrument that could be folded up to make it more compact, thus facilitating travelling with it.
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In virtually all instances, "more than one" means two. For the one known three-manual instrument, see
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demanded by compositional practice and theoretical experimentation. More common were instruments with
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the player can select any of the sets of jacks labeled in "figure 4" as A, or B and C, or all three.
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of older music, in new compositions, and, in rare cases, in certain styles of popular music (e.g.,
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1870:. A catalogue, originating with work by Boalch in the 1950s, of all extant historical instruments.
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When describing a harpsichord it is customary to specify its choirs of strings, often called its
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The term denotes the whole family of similar plucked-keyboard instruments, including the smaller
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view for most of the 19th century: an exception was its continued use in opera for accompanying
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firms produced sophisticated harpsichords of great power and sonority. German builders such as
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980:, built in the 16th century, had an unusual keyboard layout, designed to accommodate variant
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mentions his "tryangle" several times. This was not the percussion instrument that we call
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today; rather, it was a name for octave-pitched spinets, which were triangular in shape.
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1862:, 3rd ed., with updates by Andreas H. Roth and Charles Mould, Oxford University Press,
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in the lowest register. It replaced rarely used bass notes with more widely used notes.
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A particularly vivid effect is obtained when the strings plucked simultaneously are an
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1892:. Covers the innovations of the Ruckers family, the founders of the Flemish tradition.
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Wraight, Denzil (2006). "Recent Approaches in Understanding Cristofori's Fortepiano".
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that the lowest note is a C, played on a key that normally would sound E. In another
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1113:. Among the most famous composers who wrote for the harpsichord were the members of
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Performed by Sylvia Kind on a harpsichord of the type made in the early 20th century
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More than 450 Harpsichords at the MIMO (Musical Instruments Museums Online) portal
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for the lowest register. The rationale behind this system was that the low notes F
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Many harpsichords have a lid that can be raised, a cover for the keyboard, and a
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The Historical Harpsichord, Vol. 4, A Monograph Series in Honor of Frank Hubbard
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choirs; these instruments have recently served as models for modern builders.
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1265:. For a detailed account of music composed for the revived harpsichord, see
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1149:. Perhaps the most celebrated composers who wrote for the harpsichord were
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face in opposite directions, and each plucks a string adjacent to the gap.
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1153:(1685â1759), who composed numerous suites for harpsichord, and especially
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Johann Sebastian Bach â English Suite No. 1 in A major, BWV 806 â prelude
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Three historic harpsichords from the Hans Adler Memorial collection at
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Byron's letters and journals: 1816â1817 : 'So late into the night'
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The Modern Harpsichord: Twentieth Century Instruments and Their Makers
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At the other end of its vibrating length, the string passes over the
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Detail of the harpsichord by Karl Conrad Fleischer; Hamburg, 1720 in
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1235:(1879â1959), were at the forefront of the instrument's renaissance.
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external links, and converting useful links where appropriate into
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Germann, Sheridan (2002) Harpsichord Decoration: A Conspectus. In
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Detail of the mechanism of the Harpsichord by Christian Zell, at
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Cembalobau: Erfahrungen und Erkenntnisse aus der Werkstattpraxis
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in 1923, and modeled after a 1698 instrument by Joannes Carcassi
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An early diagram of a vertical harpsichord (clavicytherium) by
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made from quill or plastic. The strings are under tension on a
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Figure 1: schematic view of a 2 Ă 8' single manual harpsichord
1015:". The traditional pitch range for a 5-octave instrument is F
251:
209:). In the 20th century, it made a resurgence, being used in
1342:"Buff stop [harp stop and (erroneously) lute stop]"
399:
extended the sound repertoire of the instrument by adding
842:, or occasionally with highly elaborate painted artwork.
543:), which is covered with soft felt to muffle the impact.
491:
that passes through a hole drilled through the keylever.
2124:
Harpsichord attributed to Girolama Zenti, Viterbo, 1622
2074:
A few historic harpsichords from the collection at the
1997:
1992:
may not follow Knowledge (XXG)'s policies or guidelines
1173:
designated as such, and in the harpsichord part of his
535:
The vertical motion of the jack is then stopped by the
284:
Domenico Scarlatti â Sonata in D minor K. 9, Allegretto
1882:
Ruckers, a Harpsichord and Virginal Building Tradition
1829:
An extensive survey by a leading contemporary scholar.
323:
Performed by Martha Goldstein on a Flemish harpsichord
1835:
The Harpsichord and Clavichord: an introductory study
1708:"Bach on the Pedal Harpsichord by E. Power Biggs at"
277:
Performed by Robert Schröter on a French harpsichord
3267:
3194:
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2796:
2708:
2620:
2555:
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2499:
2461:
2428:
2400:
2364:
2214:
2101:
Golden Harpsichord by Michele Todini, Rome, c. 1675
1860:
Makers of the Harpsichord and Clavichord, 1440â1840
1382:
1380:
427:, but the piano sometimes displaced it even there.
263:
Johann Sebastian Bach â Prelude in C major, BWV 846
2146:Interview with harpsichord builder Craig Tomlinson
1942:. (material from here is also available online in
1808:. Chapel Hill: University of North Carolina Press.
1781:
1604:
366:starting in the late 16th century, notably by the
1261:is scored for harpsichord, piano and two chamber
733:of the instrument to play in different keys (see
1760:The Ultimate Encyclopedia of Musical Instruments
1003:On the whole, earlier harpsichords have smaller
149:, a harpsichord may have more than one keyboard
2081:Double virginal by Hans Ruckers, Antwerp, 1581
2589:
2188:
1611:. Harvard: Harvard University Press. p.
1157:(1685â1750), whose solo works (for instance,
8:
1535:
1533:
1326:. For forged three-manual instruments, see
1215:Modern harpsichord, made by Colzani in 2021
1185:Two of the most prominent composers of the
942:Ottavini are small spinets or virginals at
709:depressed lower key lifts jacks A, B and C.
2596:
2582:
2574:
2195:
2181:
2173:
550:Figure 3: how the harpsichord action works
2162:International Music Score Library Project
2111:Harpsichord by Pleyel et Cie, Paris, 1928
2086:Harpsichord by Jan Couchet, Antwerp, 1650
2028:Learn how and when to remove this message
1932:The New Grove: Early Keyboard Instruments
1837:(2nd ed.). London: Faber and Faber.
1710:. Jsbach.org. 20 May 1995. Archived from
811:A false innerâouter harpsichord from the
746:Some early harpsichords and organs had a
1877:, ed. by Howard Schott. Pendragon Press.
1788:(2 ed.). Harvard University Press.
1575:
379:French tradition, by makers such as the
1587:
1563:
1551:
1539:
1524:
1520:
1516:
1503:
1387:Kottick, Edward L. (15 February 2016).
1354:10.1093/gmo/9781561592630.article.04266
1315:
633:, a thin panel of wood usually made of
1340:Ripin, Edwin M.; Koster, John (2001).
653:Multiple manuals and choirs of strings
616:, which is plucked and creates sound.
351:
154:
2106:Harpsichord, Italy, late 17th century
2096:Spinetta or Virginal, Venice, c. 1540
1784:Three Centuries of Harpsichord Making
1295:List of historical harpsichord makers
774:. Deep bass notes typically form the
181:. The harpsichord was widely used in
7:
1956:, Hildesheim/ZĂŒrich/New York, 2012,
1902:, Fachbuchreihe Das Musikinstrument
1659:. Harpsichord.org.uk. Archived from
835:for holding sheet music and scores.
487:is a simple pivot, which rocks on a
201:(and then the increasing use of the
1239:for the instrument were written by
1026:Tuning pitch is often taken to be A
2091:Octave virginal, Augsburg, c. 1600
572:Sound board of a harpsichord with
352:Problems playing these files? See
211:historically informed performances
27:Plucked-string keyboard instrument
25:
1921:, New York : October House,
1117:of the late Renaissance, notably
3345:
3336:
3335:
2871:Giovanni Pierluigi da Palestrina
2158:Scores featuring the harpsichord
1977:
1906:, Bergkirchen : Bochinsky,
1279:
1201:Music of the harpsichord revival
641:orâin some Italian harpsichordsâ
334:
313:
288:
267:
754:Some early harpsichords used a
586:Museu de la MĂșsica de Barcelona
564:Strings, tuning, and soundboard
457:Museu de la MĂșsica de Barcelona
410:Around the year 1700 the first
1884:, Cambridge University Press,
1758:Dearling, Robert, ed. (1996).
592:Each string is wound around a
509:Figure 2: upper part of a jack
330:Adriano Banchieri â The Battle
1:
2614:List of Renaissance composers
1806:The Harpsichord Owner's Guide
1687:Keith Hill â Instrument Maker
1122:
1080:being played on a harpsichord
649:that secures it to the case.
623:, another sharp edge made of
234:
157:. Harpsichords may also have
2048:"Queen Elizabeth's Virginal"
1917:Zuckermann, Wolfgang (1969)
1817:. Indiana University Press.
1815:A History of the Harpsichord
1393:. Indiana University Press.
1390:A history of the harpsichord
1305:List of keyboard instruments
1231:(1872â1951) and in France,
871:Lady Standing at a Virginal
3418:
3402:Basso continuo instruments
3244:Petrus Phalesius the Elder
3059:English Virginalist School
2076:Metropolitan Museum of Art
2056:Victoria and Albert Museum
1734:"The Transposing Keyboard"
1204:
1175:Fifth Brandenburg Concerto
911:
885:
854:
736:History of the harpsichord
245:History of the harpsichord
242:
3382:Early musical instruments
3315:
3026:Jan Pieterszoon Sweelinck
2611:
1951:Beurmann, Andreas (2012)
1858:Boalch, Donald H. (1995)
1833:Russell, Raymond (1973).
1160:The Well-Tempered Clavier
1078:Little Prelude in C major
467:(a wedge-shaped piece of
302:on an Italian harpsichord
97:
2119:Witwatersrand University
1813:Kottick, Edward (2003).
1804:Kottick, Edward (1987).
1642:18 February 2018 at the
1430:, USA; Revised edition.
1324:Hieronymus Albrecht Hass
1267:Contemporary harpsichord
1207:Contemporary harpsichord
661:A two-manual harpsichord
397:Hieronymus Albrecht Hass
3397:Renaissance instruments
3054:English Madrigal School
2514:Piano Technicians Guild
1601:Marchand, Leslie Alexis
1428:Oxford University Press
1422:Ehrlich, Cyril (1990).
1229:Violet Gordon-Woodhouse
1195:Wolfgang Amadeus Mozart
1147:555 harpsichord sonatas
1115:English virginal school
999:Compass and pitch range
2896:TomĂĄs Luis de Victoria
2700:Oswald von Wolkenstein
1880:O'Brien, Grant (1990)
1287:Classical music portal
1216:
1151:Georg Friedrich HĂ€ndel
1081:
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875:
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118:
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81:
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57:
45:
2916:Transition to Baroque
2861:Pierre de Manchicourt
1515:Find full details in
1214:
1075:
929:An ottavino built by
928:
864:
810:
770:are seldom needed in
745:
724:
707:
660:
583:
571:
549:
508:
477:
454:
416:Bartolomeo Cristofori
255:
228:
133:played by means of a
38:The Judgment of Midas
35:
3377:Keyboard instruments
2946:Girolamo Frescobaldi
2753:CristĂłbal de Morales
2535:Amplifiers, speakers
2377:Generalized keyboard
2208:keyboard instruments
1998:improve this article
1714:on 12 September 2018
1657:"Pedal Harpsichords"
1424:The Piano: A History
1328:Leopoldo Franciolini
1036:Jean-Philippe Rameau
896:The English diarist
364:Southern Netherlands
3387:Baroque instruments
3064:Florentine Camerata
3036:Composition schools
2695:Gaspar van Weerbeke
2382:Isomorphic keyboard
2372:Enharmonic keyboard
2262:Electronic keyboard
2010:footnote references
1762:. London: Carlton.
1566:, various locations
1519:, p. 133 ff.,
1166:Goldberg Variations
1041:Treatise on Harmony
993:folding harpsichord
868:'s famous painting
778:of the chord, and F
3259:Thomas Vautrollier
3239:Ottaviano Petrucci
3214:Pierre Attaingnant
3204:Hieronymus Andreae
3011:Michael Praetorius
2996:Claudio Monteverdi
2986:Giovanni de Macque
2981:Luzzasco Luzzaschi
2951:Alfonso Fontanelli
2841:Francisco Guerrero
2816:Antonio de CabezĂłn
2728:Thomas Crecquillon
2710:Middle (1470â1530)
2690:Johannes Tinctoris
2630:Alexander Agricola
2542:Keyboard amplifier
2462:Piano construction
2140:Craftsman insights
1945:Grove Music Online
1934:. Macmillan, 1989
1896:Skowroneck, Martin
1683:"About Leith Hill"
1523:, p. 65 ff.,
1346:Grove Music Online
1217:
1143:Domenico Scarlatti
1082:
935:
876:
821:
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727:
711:
663:
590:
578:
552:
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131:musical instrument
46:
3359:
3358:
2956:Giovanni Gabrieli
2783:Philippe Verdelot
2680:Johannes Ockeghem
2622:Early (1400â1470)
2605:Renaissance music
2571:
2570:
2038:
2037:
2030:
1962:978-3-487-14470-2
1795:978-0-674-88845-6
1769:978-1-85868-185-6
1622:978-0-674-08945-7
1467:10.1093/em/cal050
1400:978-0-253-02347-6
1363:978-1-56159-263-0
1246:Concert champĂȘtre
1139:François Couperin
1073:
955:Pedal harpsichord
826:false innerâouter
596:(also known as a
539:(also called the
441:Martin Skowroneck
339:
318:
293:
272:
231:Arnault de Zwolle
104:
42:Hendrick Goltzius
16:(Redirected from
3409:
3349:
3339:
3338:
3219:Vittorio Baldini
3196:Music publishing
2971:Hans Leo Hassler
2926:Gregorio Allegri
2881:Cipriano de Rore
2856:Vicente Lusitano
2851:Orlando di Lasso
2806:Jacques Arcadelt
2773:Pierre de la Rue
2768:Josquin des Prez
2748:Clément Janequin
2743:Antoine de FĂ©vin
2733:Antonius Divitis
2675:Johannes Martini
2650:Guillaume Du Fay
2598:
2591:
2584:
2575:
2197:
2190:
2183:
2174:
2160:: Scores at the
2071:
2069:
2067:
2058:. Archived from
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2013:
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1289:
1284:
1283:
1282:
1249:, 1927â28), and
1222:Arnold Dolmetsch
1193:(1732â1809) and
1181:Classical period
1124:
1074:
931:Arnold Dolmetsch
813:Deutsches Museum
789:
788:
783:
782:
769:
768:
763:
762:
691:eight-foot pitch
614:vibrating length
341:
340:
320:
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300:Martha Goldstein
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3234:Antonio Gardano
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3021:Heinrich SchĂŒtz
3016:Philippe Rogier
2966:Orlando Gibbons
2918:
2914:
2905:
2901:Giaches de Wert
2891:Christopher Tye
2846:Claude Le Jeune
2836:Claude Goudimel
2831:Nicolas Gombert
2826:Andrea Gabrieli
2821:Jacobus Clemens
2792:
2788:Adrian Willaert
2718:Martin Agricola
2704:
2640:Antoine Busnois
2635:Gilles Binchois
2616:
2607:
2602:
2572:
2567:
2551:
2530:
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2457:
2424:
2415:Manual keyboard
2396:
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2341:Piano accordion
2210:
2201:
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2167:
2128:Cobb Collection
2065:
2063:
2062:on 30 June 2007
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1986:This article's
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1853:Further reading
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1251:Manuel de Falla
1241:Francis Poulenc
1233:Wanda Landowska
1226:harpsichordists
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2723:Antoine Brumel
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2665:Heinrich Isaac
2662:
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2655:John Dunstaple
2652:
2647:
2645:Loyset CompĂšre
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2387:JankĂł keyboard
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1990:external links
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1969:External links
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1674:
1663:on 23 May 2013
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1578:, p. 138.
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966:E. Power Biggs
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243:Main article:
222:
219:
195:continuo group
26:
24:
14:
13:
10:
9:
6:
4:
3:
2:
3414:
3403:
3400:
3398:
3395:
3393:
3392:C instruments
3390:
3388:
3385:
3383:
3380:
3378:
3375:
3373:
3370:
3369:
3367:
3352:
3348:
3344:
3342:
3334:
3333:
3330:
3329:
3328:Baroque music
3323:
3322:
3314:
3306:
3303:
3301:
3298:
3296:
3293:
3291:
3288:
3286:
3283:
3282:
3281:
3278:
3276:
3273:
3272:
3270:
3266:
3260:
3257:
3255:
3252:
3250:
3247:
3245:
3242:
3240:
3237:
3235:
3232:
3230:
3227:
3225:
3222:
3220:
3217:
3215:
3212:
3210:
3209:Andrea Antico
3207:
3205:
3202:
3201:
3199:
3197:
3193:
3187:
3184:
3182:
3179:
3177:
3174:
3172:
3169:
3167:
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3162:
3159:
3157:
3154:
3152:
3149:
3147:
3144:
3142:
3139:
3138:
3136:
3132:
3126:
3123:
3121:
3118:
3116:
3113:
3111:
3108:
3106:
3103:
3101:
3098:
3096:
3093:
3092:
3090:
3088:Musical forms
3086:
3080:
3077:
3075:
3072:
3070:
3067:
3065:
3062:
3060:
3057:
3055:
3052:
3050:
3047:
3045:
3042:
3041:
3039:
3037:
3033:
3027:
3024:
3022:
3019:
3017:
3014:
3012:
3009:
3007:
3004:
3002:
3001:Thomas Morley
2999:
2997:
2994:
2992:
2991:Luca Marenzio
2989:
2987:
2984:
2982:
2979:
2977:
2974:
2972:
2969:
2967:
2964:
2962:
2959:
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2937:
2934:
2932:
2929:
2927:
2924:
2923:
2921:
2917:
2912:
2908:
2902:
2899:
2897:
2894:
2892:
2889:
2887:
2886:Thomas Tallis
2884:
2882:
2879:
2877:
2874:
2872:
2869:
2867:
2864:
2862:
2859:
2857:
2854:
2852:
2849:
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2844:
2842:
2839:
2837:
2834:
2832:
2829:
2827:
2824:
2822:
2819:
2817:
2814:
2812:
2809:
2807:
2804:
2803:
2801:
2799:
2795:
2789:
2786:
2784:
2781:
2779:
2778:John Taverner
2776:
2774:
2771:
2769:
2766:
2764:
2763:Jacob Obrecht
2761:
2759:
2756:
2754:
2751:
2749:
2746:
2744:
2741:
2739:
2736:
2734:
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2716:
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2713:
2711:
2707:
2701:
2698:
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2648:
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2638:
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2623:
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2606:
2599:
2594:
2592:
2587:
2585:
2580:
2579:
2576:
2564:
2561:
2560:
2558:
2556:Miscellaneous
2554:
2548:
2545:
2543:
2540:
2539:
2537:
2533:
2525:
2522:
2521:
2520:
2517:
2515:
2512:
2510:
2507:
2506:
2504:
2502:
2498:
2490:
2487:
2485:
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2480:
2477:
2475:
2472:
2470:
2467:
2466:
2464:
2460:
2454:
2451:
2449:
2446:
2444:
2441:
2439:
2436:
2435:
2433:
2431:
2427:
2421:
2418:
2416:
2413:
2411:
2408:
2407:
2405:
2403:
2399:
2393:
2390:
2388:
2385:
2383:
2380:
2378:
2375:
2373:
2370:
2369:
2367:
2363:
2357:
2354:
2352:
2349:
2347:
2344:
2342:
2339:
2335:
2332:
2330:
2329:Digital piano
2327:
2326:
2325:
2322:
2320:
2317:
2313:
2312:Theatre organ
2310:
2308:
2305:
2303:
2300:
2298:
2297:Hammond organ
2295:
2294:
2293:
2290:
2288:
2285:
2283:
2280:
2278:
2275:
2273:
2270:
2268:
2265:
2263:
2260:
2258:
2255:
2253:
2250:
2248:
2245:
2243:
2240:
2238:
2235:
2233:
2230:
2228:
2225:
2223:
2222:Bowed clavier
2220:
2219:
2217:
2213:
2209:
2205:
2198:
2193:
2191:
2186:
2184:
2179:
2178:
2175:
2171:
2168:
2163:
2159:
2156:
2155:
2154:
2153:
2147:
2144:
2143:
2142:
2141:
2135:
2132:
2129:
2125:
2122:
2120:
2116:
2112:
2109:
2107:
2104:
2102:
2099:
2097:
2094:
2092:
2089:
2087:
2084:
2082:
2079:
2078:
2077:
2073:
2061:
2057:
2053:
2049:
2045:
2044:
2043:
2042:
2032:
2029:
2021:
2011:
2007:
2006:inappropriate
2003:
1999:
1993:
1991:
1984:
1975:
1974:
1968:
1963:
1959:
1955:
1950:
1947:
1946:
1941:
1940:0-393-02554-3
1937:
1933:
1930:
1928:
1927:0-8079-0165-2
1924:
1920:
1916:
1913:
1912:3-932275-58-6
1909:
1905:
1901:
1897:
1894:
1891:
1890:0-521-36565-1
1887:
1883:
1879:
1876:
1872:
1869:
1868:0-19-318429-X
1865:
1861:
1857:
1856:
1852:
1846:
1844:0-571-04795-5
1840:
1836:
1831:
1826:
1824:0-253-34166-3
1820:
1816:
1811:
1807:
1802:
1797:
1791:
1786:
1785:
1779:
1775:
1771:
1765:
1761:
1756:
1755:
1751:
1736:. Hubharp.com
1735:
1729:
1726:
1713:
1709:
1703:
1700:
1688:
1684:
1678:
1675:
1662:
1658:
1652:
1649:
1645:
1641:
1638:
1633:
1630:
1624:
1618:
1614:
1609:
1608:
1602:
1596:
1593:
1590:, p. 61.
1589:
1584:
1581:
1577:
1576:Dearling 1996
1572:
1569:
1565:
1560:
1557:
1553:
1548:
1545:
1541:
1536:
1534:
1530:
1526:
1522:
1518:
1512:
1509:
1506:, p. 19.
1505:
1500:
1497:
1492:
1488:
1484:
1480:
1476:
1472:
1468:
1464:
1460:
1456:
1455:
1447:
1444:
1439:
1437:0-19-816171-9
1433:
1429:
1425:
1418:
1415:
1410:
1406:
1402:
1396:
1392:
1391:
1383:
1381:
1377:
1365:
1359:
1355:
1351:
1347:
1343:
1336:
1333:
1329:
1325:
1319:
1316:
1310:
1306:
1303:
1301:
1298:
1296:
1293:
1292:
1288:
1277:
1272:
1270:
1268:
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1260:
1256:
1252:
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1247:
1242:
1238:
1234:
1230:
1227:
1223:
1213:
1208:
1200:
1198:
1196:
1192:
1188:
1187:Classical era
1180:
1178:
1176:
1172:
1168:
1167:
1162:
1161:
1156:
1152:
1148:
1144:
1141:(1668â1733).
1140:
1136:
1128:
1126:
1125:1540â1623).
1120:
1116:
1112:
1108:
1104:
1095:
1093:
1091:
1087:
1079:
1060:
1058:
1051:
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1010:
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994:
989:
987:
983:
979:
971:
969:
967:
962:
954:
952:
949:
945:
937:
932:
927:
923:
921:
920:upright piano
915:
907:
905:
903:
899:
894:
889:
881:
879:
873:
872:
867:
863:
858:
850:
845:
843:
841:
836:
834:
829:
827:
818:
814:
809:
805:
798:
796:
794:
777:
773:
757:
749:
744:
740:
738:
737:
732:
731:transposition
723:
719:
717:
706:
702:
698:
694:
692:
688:
683:
680:
675:
673:
669:
659:
652:
650:
648:
644:
640:
636:
632:
631:
626:
622:
617:
615:
611:
607:
603:
599:
595:
587:
582:
575:
570:
563:
558:
554:
548:
542:
538:
534:
531:
528:
524:
519:
518:
513:
507:
501:
497:
493:
490:
486:
482:
481:
476:
472:
470:
466:
458:
453:
446:
444:
442:
438:
434:
433:Frank Hubbard
428:
426:
421:
417:
414:was built by
413:
408:
406:
402:
398:
394:
390:
386:
385:Pascal Taskin
382:
376:
374:
373:transposition
369:
365:
357:
355:
331:
310:
301:
298:Performed by
285:
264:
246:
232:
227:
220:
218:
216:
212:
208:
204:
200:
196:
192:
191:accompaniment
189:, both as an
188:
187:Baroque music
184:
180:
176:
172:
167:
165:
160:
156:
153:, and even a
152:
148:
144:
140:
136:
132:
128:
124:
120:
116:
112:
108:
105:
95:
91:
87:
83:
79:
75:
71:
67:
63:
59:
55:
51:
43:
39:
34:
30:
19:
3326:
3319:
3290:Architecture
3224:Jacob Bathen
2941:John Dowland
2811:William Byrd
2685:Leonel Power
2392:Short octave
2276:
2272:Harmonichord
2169:
2166:
2151:
2150:
2139:
2138:
2064:. Retrieved
2060:the original
2051:
2040:
2039:
2024:
2018:January 2018
2015:
2000:by removing
1987:
1952:
1943:
1931:
1918:
1903:
1899:
1881:
1874:
1859:
1834:
1814:
1805:
1783:
1759:
1738:. Retrieved
1728:
1716:. Retrieved
1712:the original
1702:
1690:. Retrieved
1686:
1677:
1665:. Retrieved
1661:the original
1651:
1646:at rawbw.com
1632:
1606:
1595:
1588:Kottick 2003
1583:
1571:
1564:Hubbard 1967
1559:
1554:, p. 20
1552:Hubbard 1967
1547:
1542:, p. 19
1540:Hubbard 1967
1525:Kottick 2003
1521:Russell 1973
1517:Hubbard 1967
1511:
1504:Kottick 1987
1499:
1458:
1452:
1446:
1423:
1417:
1389:
1367:. Retrieved
1345:
1335:
1318:
1258:
1244:
1218:
1191:Joseph Haydn
1184:
1164:
1158:
1134:
1132:
1119:William Byrd
1099:
1083:
1055:
1046:
1039:
1025:
1013:short octave
1002:
990:
986:split sharps
978:archicembalo
975:
958:
941:
917:
898:Samuel Pepys
895:
891:
877:
869:
837:
830:
825:
822:
802:
756:short octave
753:
748:short octave
734:
728:
712:
699:
695:
684:
676:
664:
646:
628:
618:
613:
609:
605:
601:
597:
593:
591:
540:
536:
515:
499:
495:
488:
484:
461:
437:William Dowd
429:
418:. The early
409:
401:sixteen-foot
377:
360:
168:
110:
106:
58:clavicembalo
49:
47:
37:
29:
3372:Harpsichord
3280:Renaissance
3275:Early music
3171:Netherlands
3151:Elizabethan
3006:Jacopo Peri
2976:Alonso Lobo
2936:John Cooper
2798:Late (1530)
2758:Jean Mouton
2670:Jean Japart
2660:Walter Frye
2501:Maintenance
2474:Innovations
2420:Split sharp
2410:Frequencies
2351:Synthesizer
2277:Harpsichord
2215:Instruments
2041:Instruments
1454:Early Music
1129:Baroque era
1096:Renaissance
1086:Renaissance
866:Jan Vermeer
840:chinoiserie
833:music stand
793:arrangement
772:early music
687:disposition
672:pipe organs
489:balance pin
238: 1430
215:Baroque pop
183:Renaissance
155:pedal board
119:klavecimbel
50:harpsichord
3366:Categories
3305:Philosophy
3300:Literature
3268:Background
3134:Traditions
3110:Magnificat
3100:Intermedio
3044:Burgundian
2438:Expression
2307:Reed organ
2302:Pipe organ
2267:Fortepiano
2247:Clavichord
1752:References
1300:Clavichord
1263:orchestras
1155:J. S. Bach
1052:Decoration
630:soundboard
606:wrestplank
594:tuning pin
541:upper rail
529:) plectra.
425:recitative
420:fortepiano
412:fortepiano
354:media help
207:recitative
199:fortepiano
147:pipe organ
143:soundboard
86:Portuguese
3120:Offertory
3049:Colorists
2911:Mannerism
2469:Acoustics
2257:Claviharp
2066:12 August
2052:Furniture
2002:excessive
1491:191481821
1475:0306-1078
1409:933437874
1237:Concertos
1107:fantasias
1048:shifted.
1023:(FFâfâŽ).
857:Virginals
851:Virginals
668:harmonics
598:wrest pin
500:registers
447:Mechanism
171:virginals
98:ĐșлаĐČĐ”ŃĐžÌĐœ
18:Clavessin
3341:Category
3318: â
3181:Portugal
3105:Madrigal
3079:Venetian
2356:Virginal
2287:Melodica
2232:Carillon
2227:Calliope
1780:(1967).
1692:30 April
1640:Archived
1637:Ottavino
1603:(1973).
1369:18 April
1273:See also
1163:and the
938:Ottavino
902:triangle
846:Variants
787:♯
781:♯
767:♯
761:♯
647:hitchpin
625:hardwood
602:pinblock
576:patterns
537:jackrail
517:plectrum
485:keylever
465:plectrum
405:two-foot
139:plectrum
135:keyboard
127:klawesyn
111:klavesin
107:klavesĂn
82:clavecĂn
66:clavecin
3331:â
3161:Germany
3141:British
2484:Aliquot
2448:Sustain
2365:Layouts
2319:Orphica
2237:Celesta
2204:Musical
1996:Please
1988:use of
1954:Germany
1898:(2003)
1483:4137311
1090:Baroque
1076:Bach's
1009:octaves
643:cypress
574:Chladni
389:Kirkman
368:Ruckers
221:History
175:muselar
129:) is a
94:Russian
78:Spanish
74:Cembalo
54:Italian
3351:Portal
3176:Poland
3156:France
3146:Cyprus
3125:Pavane
2919:c.1600
2524:Wrench
2519:Tuning
2509:Action
2479:Wiring
2430:Pedals
2346:Spinet
2282:Keytar
1960:
1938:
1925:
1910:
1888:
1866:
1841:
1821:
1792:
1766:
1740:22 May
1718:22 May
1667:22 May
1619:
1489:
1481:
1473:
1434:
1407:
1397:
1360:
1224:, the
1135:ordres
1111:fugues
1109:, and
1103:suites
1092:eras.
1005:ranges
888:Spinet
882:Spinet
817:Munich
679:octave
635:spruce
621:bridge
527:celcon
523:delrin
439:, and
179:spinet
177:, and
151:manual
123:Polish
70:German
62:French
3295:Dance
3186:Spain
3166:Italy
3095:Carol
3074:Roman
2489:Cross
2324:Piano
2292:Organ
2242:Chime
2152:Music
1487:S2CID
1479:JSTOR
1311:Notes
1243:(the
1171:works
1061:Music
784:and G
764:and G
469:quill
393:Shudi
203:piano
115:Dutch
90:cravo
3115:Mass
2913:and
2443:Soft
2402:Keys
2206:and
2068:2007
1958:ISBN
1936:ISBN
1923:ISBN
1908:ISBN
1886:ISBN
1864:ISBN
1839:ISBN
1819:ISBN
1790:ISBN
1764:ISBN
1742:2013
1720:2013
1694:2018
1669:2013
1617:ISBN
1471:ISSN
1432:ISBN
1405:OCLC
1395:ISBN
1371:2021
1358:ISBN
1088:and
991:The
976:The
799:Case
776:root
716:lute
496:jack
494:The
483:The
403:and
391:and
383:and
185:and
164:lute
159:stop
3285:Art
2004:or
1463:doi
1350:doi
1257:'s
1137:by
1038:'s
815:in
739:).
639:fir
610:nut
604:or
525:or
217:).
113:),
109:or
103:tr.
40:by
3368::
2054:.
2050:.
1904:83
1685:.
1615:.
1613:75
1532:^
1485:.
1477:.
1469:.
1459:34
1457:.
1426:.
1403:.
1379:^
1356:.
1348:.
1344:.
1269:.
1253:.
1189:,
1177:.
1123:c.
1105:,
1019:âF
968:.
948:8'
718:.
637:,
435:,
375:.
235:c.
233:,
173:,
166:.
125::
121:,
117::
96::
92:,
88::
84:,
80::
76:;
72::
68:,
64::
60:,
56::
48:A
2597:e
2590:t
2583:v
2196:e
2189:t
2182:v
2130:)
2126:(
2070:.
2031:)
2025:(
2020:)
2016:(
2012:.
1994:.
1964:.
1948:)
1847:.
1827:.
1798:.
1772:.
1744:.
1722:.
1696:.
1671:.
1625:.
1527:.
1493:.
1465::
1440:.
1411:.
1373:.
1352::
1330:.
1121:(
1032:4
1028:4
1021:6
1017:1
521:(
356:.
100:(
52:(
20:)
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