952:
461:
692:
910:
546:
606:
390:
680:
536:
703:, drawn up by Philip Van Wilder in 1553, there are mentions of "twoo pair of double virginalles", "one new pair of double virginalles", and other obscure references. These predate the earliest extant Mother and Child virginal by 30 years (the 1581 Hans Ruckers), and the earliest known double manual harpsichords by about 60 years. The term may have referred to the number of stops on the instrument, or perhaps its range.
2696:
2706:
355:, of around 1460, where he writes: "The virginal is an instrument in the shape of a clavichord, having metal strings which give it the timbre of a clavicembalo. It has 32 courses of strings set in motion by striking the fingers on projecting keys, giving a dulcet tone in both whole and half steps. It is called a virginal because, like a virgin, it sounds with a gentle and undisturbed voice." The
864:. Many of these motifs appear to be resurrection symbols. Natural keys were normally covered in bone, and sharps were of oak or, less commonly, chestnut. The case exteriors were usually marbled, whilst the inside was decorated with elaborate block-printed papers. Occasionally the inside of the lid bore a decorative scene; more often it was covered with block-printed papers embellished with a
32:
499:) were made only in northern Europe. Here, the keyboard is placed right of centre and the strings are plucked about one-third the way along their sounding length. This gives a warm, rich, resonant sound, with a strong fundamental and weak overtones. However, this comes at a price: the jacks and keys for the left hand are inevitably placed in the middle of the instrument's
484:
136:
507:, the central plucking point in the bass makes repetition difficult, because the motion of the still-sounding string interferes with the ability of the plectrum to connect again. An 18th-century commentator (Van Blankenberg, 1739) wrote that muselars "grunt in the bass like young pigs". Thus the muselar was better suited to
1494:
363:
purchased five instruments so named. Small, early virginals were played either in the lap, or more commonly, rested on a table, but nearly all later examples were provided with their own stands. The heyday of the virginals was the latter half of the 16th century to the later 17th century, until the
1479:
1001:
keyboard music of the renaissance sounds equally well on harpsichord, virginals, clavichord or organ, and it is doubtful if any composer had a particular instrument in mind when writing keyboard scores. A list of composers for writing for the virginals (among other instruments) may be found under
1000:
could historically be applied to any stringed keyboard instrument, and since there was very rarely any indication of instrumentation on musical scores in the heyday of the virginals, there are hardly any compositions that can be said to be specifically for that instrument. Indeed, nearly all the
435:
than in the harpsichord. This is the more common arrangement for modern instruments, and an instrument described simply as a "virginal" is likely to be a spinet virginals. The principal differences in construction lie mainly in the placement of the keyboard: Italian instruments invariably had a
1489:
1484:
267:, mounted in jacks. Its case, however, is rectangular or polygonal, and the single choir of strings—one per note—runs roughly parallel to the keyboard. The strings are plucked either near one end, as with the harpsichord, or, in the case of the muselar, nearer the middle, producing a more
251:. It has only one string per note, running more or less parallel to the keyboard, on the long side of the case. Many, if not most, of the instruments were constructed without legs, and would be placed on a table for playing. Later models were built with their own stands.
832:
Whilst many early virginals throughout Europe were left in plain wood, they were soon provided with rich decoration, which may have contributed to the survival of many such instruments. From mouldings on case edges, jackrails and namebattens to adornment with
923:
There was no such "standard decoration" for
Italian virginals. Where there was an outer case, it was often this that was decorated, leaving the actual instrument plain (typically for Venetian virginals). Cases could be decorated with paintings of
1235:
provides evidence of how popular the instrument had become: In a river “full of lighters and boats taking in goods…I observed that hardly one lighter or boat in three that had the goods of a house in, but there was a pair of
526:
Muselars were popular in the 16th and 17th centuries and their ubiquity has been compared to that of the upright piano in the early 20th century, but like other types of virginals they fell out of use in the 18th century.
751:, thus allowing some frequently-required low bass notes to take over the positions of keys that were rarely used in the contemporary repertory and avoiding building a larger instrument. Some Italian models ranged from C
448:, the Italian models often having an outer case like harpsichords from that country. There are very few surviving English virginals, all of them late. They generally follow the Flemish construction, but with a
2274:
1005:. Although the "virginalist school" usually refers to English composers, it would not be incorrect to use the word in connection with some continental keyboard composers of the period, such as
951:
523:), which consists of lead hooks being lightly applied against the ends of the bass strings in such a manner that the string vibrating against the hook produces a buzzing, snarling sound.
327:
and his contemporaries were often played on full-size, Italian or
Flemish harpsichords, and not only on the virginals as we call it today. Contemporary nomenclature often referred to a
654:
next to the keyboard of the larger instrument, and could be withdrawn and played as a separate keyboard instrument. However, the two instruments could also be coupled together, the
860:
Most
Flemish virginals had their soundboards painted with flowers, fruit, birds, caterpillars, moths and even cooked prawns, all within blue scalloped borders and intricate blue
444:
in shape, the case following the lines of the strings and bridges, and a few early
Flemish examples are similarly made. From about 1580 however, nearly all virginals were
579:
were pitched an octave higher than the larger instrument. In the
Flemish tradition these were often – perhaps always – sold together with a large virginals, to which the
288:
meaning a rod, perhaps referring to the wooden jacks that rest on the ends of the keys, but this is unproven. Another possibility is that the name derives from the word
1170:
969:, sometimes two or three in early days. The rose had no acoustic function, and was purely decorative. Although these were a throwback to the rose in the medieval
814:, and a ninth. Pitch assignments have been suggested for these instruments based on scalings provided by Douwes. Most modern instruments are full-sized ones at
973:, they were never carved integrally as part of the soundboard. In Italian instruments they were usually constructed by combining multiple layers of pierced
1954:
1553:
436:
keyboard that projected from the case, whilst northern virginals had their keyboards recessed in a keywell. The cases of
Italian instruments were made of
503:, with the result that any mechanical noise from these is amplified. In addition to mechanical noise, from the string vibrating against the descending
440:
wood and were of delicate manufacture, whilst northern virginals were usually more stoutly constructed of poplar. Early
Italian virginals were usually
1028:
actually bears the word in its original title: the other collections were attributed the name by music scholars in the 19th and 20th centuries.
723:(45 notes, 4 octaves), which allowed the performance of the music contemporarily available for the instruments. The lower octave was tuned to a
1409:
1183:
1071:
460:
824:
at 4′ pitch, although there are no surviving
Ruckers instruments at the 4' pitch, and most probably none were ever made by his workshop.
1061:
2730:
1046:
1025:
1451:
1437:
1423:
1395:
1381:
1367:
1255:
150:
115:
315:, any stringed keyboard instrument was often described as a virginals, and could equally apply to a harpsichord or possibly even a
2499:
2229:
1081:
1947:
1546:
691:
1524:
1463:
1041:
871:, usually connected with morality or music. Mottos could also be applied to the keywell batten. Some typical mottos include:
53:
798:
differences between the models offered by the
Ruckers workshops were by no means arbitrary, but corresponded to the musical
2735:
2199:
1972:
1120:
988:. In Flemish instruments, the rose was usually cast from lead and gilded, and usually incorporated the maker's initials.
351:
was applied, probably in the 15th century. The first mention of the word is in Paulus
Paulirinus of Prague's (1413–1471)
2509:
638:). This consisted of two instruments in one: a normal virginals (either spinet or muselar) with one 8′ register, and an
597:
was usually a separate instrument of its own, being fitted in its own outer case, just like larger Italian instruments.
96:
909:
2554:
1165:
1076:
549:
68:
540:
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2602:
2417:
1940:
1539:
684:
610:
560:
49:
42:
2539:
2384:
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1508:
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1018:
356:
75:
20:
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1832:
877:
861:
476:
545:
1280:
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2524:
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1872:
1600:
431:). The keyboard is placed left of centre, and the strings are plucked at one end, although farther from the
82:
2709:
2686:
2663:
2658:
2294:
2179:
2058:
1056:
945:
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1281:"The Hans Adler Collection of Early Instruments: Hans/Andreas Rueckers Epinette, Virginal or Harpsichord"
2529:
2427:
2219:
1768:
700:
403:
1586, provided with a false outer case. Note the projecting keyboard, unlike the inset Flemish examples.
294:, as it was most commonly played by young women, or from its sound, which is like a young girl's voice (
2174:
64:
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1228:
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1006:
449:
2422:
2106:
2101:
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being placed over the strings of the larger virginals (once the jackrail was removed), so that the
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224:
155:
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1900:
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music without complex left hand parts. The muselar could also be provided with a stop called the
196:
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232:
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144:, 1583, Antwerp (Paris, Musée de la Musique). Note the inset keyboard placed left of centre.
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Traditionally, the soundboards of both northern and Italian virginals were pierced with a
308:
857:, not to mention intricate painting, no expense was spared by those who could afford it.
780:(circa 1650 – circa 1725) mentions instruments from nominal 6 feet (1.8 m) down to
535:
2612:
2587:
2544:
2319:
2289:
2234:
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2023:
2013:
1921:
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211:
89:
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1806:
1687:
1670:
1655:
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1161:
807:
795:
508:
365:
331:, which implied a single instrument, possibly a harpsichord with two registers, or a
236:
162:
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2582:
2473:
2432:
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2043:
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1630:
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985:
724:
676:, so that both instruments sounded simultaneously, giving a more brilliant effect.
324:
312:
169:
141:
695:
Hans Ruckers' stand-alone virginal (1610) from the Hans Adler keyboard collection.
776:
Virginals were available in various sizes. The Dutch organist and harpsichordist
2638:
2633:
2364:
2334:
2116:
2028:
2018:
1778:
1709:
1635:
1362:, vol. IV. General Editor: Howard Schott. Pendragon Press, Hillsdale, NY, 2002.
1224:
1002:
981:
661:
445:
301:
260:
248:
228:
203:
31:
2468:
2458:
1837:
1801:
1665:
1660:
1625:
1605:
936:, or lavishly decorated (as was often the case in northern Italy) with ivory,
906:
was one among several who produced paintings including examples of virginals.
373:
360:
316:
2478:
1615:
1265:
974:
929:
925:
567:
Both Italian and northern schools produced a miniature virginals called the
441:
2463:
1645:
1590:
1200:
854:
618:
504:
420:
344:
264:
1501:
247:
A virginals is a smaller and simpler, rectangular or polygonal, form of
1677:
1595:
625:
488:
437:
2483:
1704:
1640:
1517:
842:
811:
512:
408:
369:
320:
304:, as it was used by nuns to accompany hymns in honour of the Virgin.
290:
207:
1932:
483:
135:
670:. The jacks of the larger instrument now activated the keys of the
1682:
950:
941:
937:
933:
908:
868:
865:
846:
838:
834:
690:
678:
604:
544:
534:
482:
459:
388:
280:
268:
932:, but soundboards were rarely painted. Keytops could be of plain
970:
1936:
1535:
1024:
Out of the some dozen so-called English "virginal books", only
539:
1689 Menegoni Ottavino from the Hans Adler keyboard collection.
1358:
Germann, Sheridan, "Harpsichord Decoration – A Conspectus" In
25:
1225:
Diary of Samuel Pepys, August and September 1666. 2 September
1160:
Ripin, Edwin M. & Wraight, Denzil (2001). "Virginal". In
1134:"A Young Woman Seated at the Virginals by Johannes Vermeer"
343:
Like the harpsichord, the virginals has its origins in the
279:
The origin of the name is obscure. It may derive from the
664:
of the latter passed through a slot in the bottom of the
359:
records its first mention in English in 1530, when King
1444:
Keyboard Instruments at the Victoria and Albert Museum
1402:
Ruckers: A Harpsichord and Virginal Building Tradition
628:
family, produced a special type of virginals known as
1430:
The Harpsichord and Clavichord: an introductory study
263:'s, in that its wire strings are plucked by a set of
300:). A further view is that the name derives from the
2626:
2553:
2492:
2446:
2393:
2268:
2155:
2067:
1979:
1914:
1893:
1858:
1820:
1787:
1759:
1723:
1573:
1121:
Vermeer: Painting of 'Lady Seated at the Virginals'
683:
Double virginal (1581) by Hans Ruckers the Elder. (
491:
school. Note the keyboard on the right of the case.
259:The mechanism of the virginals is identical to the
195:
161:
149:
56:. Unsourced material may be challenged and removed.
1031:A selection of English "virginal books" includes:
1101:The plural form may refer to a single instrument.
1432:, 2nd ed., London : Faber and Faber, 1973.
1337:. Galpin Society Journal, XXIII (1970), pp 35ff.
1248:The ultimate encyclopedia of musical instruments
1480:Double virginal by Ludovicus Growelus, ca. 1600
1171:The New Grove Dictionary of Music and Musicians
609:Double virginal (1600) by Lodewijck Grouwels. (
19:"Virginal" redirects here. For other uses, see
407:Spinet virginals (not to be confused with the
271:-like tone that's reduced in upper harmonics.
1948:
1547:
1418:, Seven Hills Books, Cincinnati, Ohio, 1986.
819:
671:
665:
655:
645:
639:
592:
580:
574:
568:
394:
16:Keyboard instrument of the harpsichord family
8:
711:The keyboard compass of most virginals was C
650:was stored (rather like a drawer) under the
231:family. It was popular in Europe during the
128:
1446:, Victoria and Albert Museum, London 1986.
1376:, 2nd ed., Harvard University Press, 1967.
893:
885:
875:
633:
295:
283:
1955:
1941:
1933:
1554:
1540:
1532:
1322:Grundig Ondersoek van de Toonen der Musijk
699:Among the instruments in the inventory of
399:or virginals after Alessandro Bertolotti,
977:, so that the final result looked like a
479:). Note the keyboard placed to the right.
368:, when it was eclipsed in England by the
116:Learn how and when to remove this message
1416:Musical Instruments and Their Decoration
1155:
1153:
1113:
1094:
890:("Music is the sweet solace of labour")
882:("Thus passes the glory of the world")
127:
1490:Muselar virginal by Jan Ruckers, 1622
1470:Double virginal by Hans Ruckers, 1581
1374:Three Centuries of Harpsichord Making
591:below). In the Italian tradition, an
587:
7:
1404:, Cambridge University Press, 2008.
1335:The "three foot" Flemish harpsichord
54:adding citations to reliable sources
1485:Octave virginal, Augsburg, ca. 1600
1475:Spinetta or virginal, Venice, 1540
1390:, Indiana University Press, 2003.
992:Composers and collections of works
644:with one 4′ register. The smaller
411:) were made principally in Italy (
14:
1072:Priscilla Bunbury's Virginal Book
183:(45 notes); some Italian models C
2704:
2695:
2694:
2230:Giovanni Pierluigi da Palestrina
1062:Clement Matchett's Virginal Book
727:, so that the bottom E sounded C
134:
30:
1047:Elizabeth Rogers' Virginal Book
1026:Elizabeth Rogers' Virginal Book
41:needs additional citations for
1525:New International Encyclopedia
1464:The Metropolitan Museum of Art
1042:The Dublin Virginal Manuscript
1:
1973:List of Renaissance composers
1082:Anne Cromwell's Virginal Book
553:
472:
400:
1388:A History of the Harpsichord
1077:Will Forster's Virginal Book
898:("Music is the gift of God")
887:MVSICA DVLCE LABORVM LEVAMEN
1495:Ottavino, before 1668, Rome
550:Rectangular Octave Virginal
323:. Thus, the masterworks of
2752:
2603:Petrus Phalesius the Elder
2418:English Virginalist School
1509:Collier's New Encyclopedia
1360:The Historical Harpsichord
914:Lady standing at a muselar
561:Metropolitan Museum of Art
18:
2731:Early musical instruments
2674:
2385:Jan Pieterszoon Sweelinck
1970:
1246:Dearling, Robert (1996).
1052:Fitzwilliam Virginal Book
1019:Jan Pieterszoon Sweelinck
487:A typical muselar of the
372:, and in Germany, by the
357:Oxford English Dictionary
202:
168:
133:
21:Virginal (disambiguation)
1174:(2nd ed.). London:
878:SIC TRANSIT GLORIA MVNDI
794:feet (0.76 m). The
477:National Gallery, London
2413:English Madrigal School
1873:Piano Technicians Guild
948:among other materials.
928:, classical scenes, or
307:In England, during the
2255:Tomás Luis de Victoria
2059:Oswald von Wolkenstein
1057:My Ladye Nevells Booke
962:
920:
894:
886:
876:
820:
696:
688:
672:
666:
656:
646:
640:
634:
614:
593:
585:could be coupled (see
581:
575:
569:
564:
542:
492:
480:
428:
416:
404:
395:
296:
284:
2275:Transition to Baroque
2220:Pierre de Manchicourt
954:
912:
701:Henry VIII of England
694:
682:
608:
548:
538:
486:
463:
392:
361:Henry VIII of England
140:Flemish virginals by
2736:Keyboard instruments
2305:Girolamo Frescobaldi
2112:Cristóbal de Morales
1894:Amplifiers, speakers
1736:Generalized keyboard
1567:keyboard instruments
1462:Extant Virginals at
1176:Macmillan Publishers
1007:Girolamo Frescobaldi
855:semi-precious stones
624:, in particular the
50:improve this article
2423:Florentine Camerata
2395:Composition schools
2054:Gaspar van Weerbeke
1741:Isomorphic keyboard
1731:Enharmonic keyboard
1621:Electronic keyboard
1414:Rueger, Christoph,
1346:Germann, p. 28
353:Tractatus de musica
225:keyboard instrument
197:Related instruments
156:Keyboard instrument
130:
2618:Thomas Vautrollier
2598:Ottaviano Petrucci
2573:Pierre Attaingnant
2563:Hieronymus Andreae
2370:Michael Praetorius
2355:Claudio Monteverdi
2345:Giovanni de Macque
2340:Luzzasco Luzzaschi
2310:Alfonso Fontanelli
2200:Francisco Guerrero
2175:Antonio de Cabezón
2087:Thomas Crecquillon
2069:Middle (1470–1530)
2049:Johannes Tinctoris
1989:Alexander Agricola
1901:Keyboard amplifier
1821:Piano construction
1428:Russell, Raymond,
1227:In describing the
963:
921:
741:, and the bottom G
697:
689:
615:
565:
543:
493:
481:
465:Woman at a muselar
405:
2718:
2717:
2315:Giovanni Gabrieli
2142:Philippe Verdelot
2039:Johannes Ockeghem
1981:Early (1400–1470)
1964:Renaissance music
1930:
1929:
1410:978-0-521-06682-2
1386:Kottick, Edward,
1311:Hubbard 1967, 136
1302:Kottick 2003, 490
1293:O'Brien 1990, 347
1185:978-1-56159-239-5
1123:. Web.archive.org
1037:The Mulliner Book
984:, or an inverted
902:The Dutch artist
707:Compass and pitch
329:pair of virginals
217:
216:
126:
125:
118:
100:
2743:
2708:
2698:
2697:
2578:Vittorio Baldini
2555:Music publishing
2330:Hans Leo Hassler
2285:Gregorio Allegri
2240:Cipriano de Rore
2215:Vicente Lusitano
2210:Orlando di Lasso
2165:Jacques Arcadelt
2132:Pierre de la Rue
2127:Josquin des Prez
2107:Clément Janequin
2102:Antoine de Févin
2092:Antonius Divitis
2034:Johannes Martini
2009:Guillaume Du Fay
1957:
1950:
1943:
1934:
1556:
1549:
1542:
1533:
1529:
1521:
1519:"Virginal"
1513:
1505:
1503:"Virginal"
1400:O'Brien, Grant,
1372:Hubbard, Frank,
1347:
1344:
1338:
1333:Edwin M. Ripin,
1331:
1325:
1324:(Franeker, 1699)
1318:
1312:
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1303:
1300:
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1124:
1118:
1102:
1099:
960:Johannes Vermeer
956:The Music Lesson
918:Johannes Vermeer
904:Johannes Vermeer
897:
895:MVSICA DONVM DEI
889:
881:
823:
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767:
764:
746:
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649:
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637:
630:Mother and Child
601:Double virginals
596:
588:Double virginals
584:
578:
572:
558:
555:
474:
469:Johannes Vermeer
402:
398:
385:Spinet virginals
333:double virginals
299:
287:
233:late Renaissance
138:
131:
121:
114:
110:
107:
101:
99:
58:
34:
26:
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2741:
2740:
2721:
2720:
2719:
2714:
2691:
2683:
2670:
2622:
2608:Girolamo Scotto
2593:Antonio Gardano
2549:
2488:
2442:
2389:
2380:Heinrich Schütz
2375:Philippe Rogier
2325:Orlando Gibbons
2277:
2273:
2264:
2260:Giaches de Wert
2250:Christopher Tye
2205:Claude Le Jeune
2195:Claude Goudimel
2190:Nicolas Gombert
2185:Andrea Gabrieli
2180:Jacobus Clemens
2151:
2147:Adrian Willaert
2077:Martin Agricola
2063:
1999:Antoine Busnois
1994:Gilles Binchois
1975:
1966:
1961:
1931:
1926:
1910:
1889:
1854:
1816:
1783:
1774:Manual keyboard
1755:
1719:
1700:Piano accordion
1569:
1560:
1516:
1500:
1460:
1355:
1353:Further reading
1350:
1345:
1341:
1332:
1328:
1319:
1315:
1310:
1306:
1301:
1297:
1292:
1288:
1279:
1278:
1274:
1258:
1245:
1244:
1240:
1223:
1219:
1209:
1207:
1205:Everything2.com
1199:
1198:
1194:
1186:
1159:
1158:
1151:
1142:
1140:
1138:Philamuseum.org
1132:
1131:
1127:
1119:
1115:
1111:
1106:
1105:
1100:
1096:
1091:
1086:
1011:Giovanni Picchi
994:
942:mother-of-pearl
839:mother-of-pearl
830:
790:
786:
783:
781:
769:
765:
762:
760:
758:
754:
750:
743:
742:
740:
733:
732:
730:
722:
718:
714:
709:
635:moeder und kind
603:
556:
533:
495:Muselars (also
458:
419:), England and
387:
382:
370:bentside spinet
341:
277:
257:
245:
190:
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177:
173:
145:
122:
111:
105:
102:
59:
57:
47:
35:
24:
17:
12:
11:
5:
2749:
2747:
2739:
2738:
2733:
2723:
2722:
2716:
2715:
2713:
2712:
2702:
2684:
2680:Medieval music
2676:
2675:
2672:
2671:
2669:
2668:
2667:
2666:
2661:
2656:
2651:
2646:
2636:
2630:
2628:
2624:
2623:
2621:
2620:
2615:
2613:Tielman Susato
2610:
2605:
2600:
2595:
2590:
2588:Valerio Dorico
2585:
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2565:
2559:
2557:
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2496:
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2471:
2466:
2461:
2456:
2450:
2448:
2444:
2443:
2441:
2440:
2435:
2430:
2428:Franco-Flemish
2425:
2420:
2415:
2410:
2405:
2399:
2397:
2391:
2390:
2388:
2387:
2382:
2377:
2372:
2367:
2362:
2357:
2352:
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2337:
2332:
2327:
2322:
2320:Carlo Gesualdo
2317:
2312:
2307:
2302:
2297:
2292:
2290:Thomas Campion
2287:
2281:
2279:
2266:
2265:
2263:
2262:
2257:
2252:
2247:
2242:
2237:
2235:Costanzo Porta
2232:
2227:
2225:Hans Neusidler
2222:
2217:
2212:
2207:
2202:
2197:
2192:
2187:
2182:
2177:
2172:
2167:
2161:
2159:
2153:
2152:
2150:
2149:
2144:
2139:
2134:
2129:
2124:
2119:
2114:
2109:
2104:
2099:
2097:Costanzo Festa
2094:
2089:
2084:
2082:Antoine Brumel
2079:
2073:
2071:
2065:
2064:
2062:
2061:
2056:
2051:
2046:
2041:
2036:
2031:
2026:
2024:Heinrich Isaac
2021:
2016:
2014:John Dunstaple
2011:
2006:
2004:Loyset Compère
2001:
1996:
1991:
1985:
1983:
1977:
1976:
1971:
1968:
1967:
1962:
1960:
1959:
1952:
1945:
1937:
1928:
1927:
1925:
1924:
1922:Prepared piano
1918:
1916:
1912:
1911:
1909:
1908:
1906:Leslie speaker
1903:
1897:
1895:
1891:
1890:
1888:
1887:
1886:
1885:
1875:
1870:
1864:
1862:
1856:
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1852:
1851:
1850:
1845:
1835:
1830:
1824:
1822:
1818:
1817:
1815:
1814:
1812:Pedal keyboard
1809:
1804:
1799:
1793:
1791:
1785:
1784:
1782:
1781:
1776:
1771:
1765:
1763:
1757:
1756:
1754:
1753:
1748:
1746:Jankó keyboard
1743:
1738:
1733:
1727:
1725:
1721:
1720:
1718:
1717:
1712:
1707:
1702:
1697:
1696:
1695:
1693:Electric piano
1690:
1680:
1675:
1674:
1673:
1668:
1663:
1658:
1648:
1643:
1638:
1633:
1628:
1623:
1618:
1613:
1611:Clavicytherium
1608:
1603:
1598:
1593:
1588:
1583:
1577:
1575:
1571:
1570:
1561:
1559:
1558:
1551:
1544:
1536:
1498:
1497:
1492:
1487:
1482:
1477:
1472:
1459:
1458:External links
1456:
1455:
1454:
1442:Yorke, James,
1440:
1426:
1412:
1398:
1384:
1370:
1354:
1351:
1349:
1348:
1339:
1326:
1320:Klaas Douwes,
1313:
1304:
1295:
1286:
1272:
1256:
1238:
1217:
1192:
1184:
1162:Sadie, Stanley
1149:
1125:
1112:
1110:
1107:
1104:
1103:
1093:
1092:
1090:
1087:
1085:
1084:
1079:
1074:
1069:
1064:
1059:
1054:
1049:
1044:
1039:
1033:
1015:Samuel Scheidt
993:
990:
900:
899:
891:
883:
829:
826:
756:
752:
748:
738:
731:, the bottom F
728:
720:
716:
712:
708:
705:
602:
599:
532:
529:
457:
454:
386:
383:
381:
378:
366:Baroque period
340:
337:
297:vox virginalis
276:
273:
256:
253:
244:
241:
215:
214:
212:clavicytherium
200:
199:
193:
192:
188:
184:
180:
175:
171:
166:
165:
159:
158:
153:
151:Classification
147:
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139:
124:
123:
38:
36:
29:
15:
13:
10:
9:
6:
4:
3:
2:
2748:
2737:
2734:
2732:
2729:
2728:
2726:
2711:
2707:
2703:
2701:
2693:
2692:
2689:
2688:
2687:Baroque music
2682:
2681:
2673:
2665:
2662:
2660:
2657:
2655:
2652:
2650:
2647:
2645:
2642:
2641:
2640:
2637:
2635:
2632:
2631:
2629:
2625:
2619:
2616:
2614:
2611:
2609:
2606:
2604:
2601:
2599:
2596:
2594:
2591:
2589:
2586:
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2579:
2576:
2574:
2571:
2569:
2568:Andrea Antico
2566:
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2560:
2558:
2556:
2552:
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2541:
2538:
2536:
2533:
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2518:
2516:
2513:
2511:
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2495:
2491:
2485:
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2480:
2477:
2475:
2472:
2470:
2467:
2465:
2462:
2460:
2457:
2455:
2452:
2451:
2449:
2447:Musical forms
2445:
2439:
2436:
2434:
2431:
2429:
2426:
2424:
2421:
2419:
2416:
2414:
2411:
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2398:
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2392:
2386:
2383:
2381:
2378:
2376:
2373:
2371:
2368:
2366:
2363:
2361:
2360:Thomas Morley
2358:
2356:
2353:
2351:
2350:Luca Marenzio
2348:
2346:
2343:
2341:
2338:
2336:
2333:
2331:
2328:
2326:
2323:
2321:
2318:
2316:
2313:
2311:
2308:
2306:
2303:
2301:
2298:
2296:
2293:
2291:
2288:
2286:
2283:
2282:
2280:
2276:
2271:
2267:
2261:
2258:
2256:
2253:
2251:
2248:
2246:
2245:Thomas Tallis
2243:
2241:
2238:
2236:
2233:
2231:
2228:
2226:
2223:
2221:
2218:
2216:
2213:
2211:
2208:
2206:
2203:
2201:
2198:
2196:
2193:
2191:
2188:
2186:
2183:
2181:
2178:
2176:
2173:
2171:
2168:
2166:
2163:
2162:
2160:
2158:
2154:
2148:
2145:
2143:
2140:
2138:
2137:John Taverner
2135:
2133:
2130:
2128:
2125:
2123:
2122:Jacob Obrecht
2120:
2118:
2115:
2113:
2110:
2108:
2105:
2103:
2100:
2098:
2095:
2093:
2090:
2088:
2085:
2083:
2080:
2078:
2075:
2074:
2072:
2070:
2066:
2060:
2057:
2055:
2052:
2050:
2047:
2045:
2042:
2040:
2037:
2035:
2032:
2030:
2027:
2025:
2022:
2020:
2017:
2015:
2012:
2010:
2007:
2005:
2002:
2000:
1997:
1995:
1992:
1990:
1987:
1986:
1984:
1982:
1978:
1974:
1969:
1965:
1958:
1953:
1951:
1946:
1944:
1939:
1938:
1935:
1923:
1920:
1919:
1917:
1915:Miscellaneous
1913:
1907:
1904:
1902:
1899:
1898:
1896:
1892:
1884:
1881:
1880:
1879:
1876:
1874:
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1866:
1865:
1863:
1861:
1857:
1849:
1846:
1844:
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1836:
1834:
1831:
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1826:
1825:
1823:
1819:
1813:
1810:
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1792:
1790:
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1744:
1742:
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1737:
1734:
1732:
1729:
1728:
1726:
1722:
1716:
1713:
1711:
1708:
1706:
1703:
1701:
1698:
1694:
1691:
1689:
1688:Digital piano
1686:
1685:
1684:
1681:
1679:
1676:
1672:
1671:Theatre organ
1669:
1667:
1664:
1662:
1659:
1657:
1656:Hammond organ
1654:
1653:
1652:
1649:
1647:
1644:
1642:
1639:
1637:
1634:
1632:
1629:
1627:
1624:
1622:
1619:
1617:
1614:
1612:
1609:
1607:
1604:
1602:
1599:
1597:
1594:
1592:
1589:
1587:
1584:
1582:
1581:Bowed clavier
1579:
1578:
1576:
1572:
1568:
1564:
1557:
1552:
1550:
1545:
1543:
1538:
1537:
1534:
1530:
1527:
1526:
1520:
1514:
1511:
1510:
1504:
1496:
1493:
1491:
1488:
1486:
1483:
1481:
1478:
1476:
1473:
1471:
1468:
1467:
1466:
1465:
1457:
1453:
1452:0-948107-04-9
1449:
1445:
1441:
1439:
1438:0-571-04795-5
1435:
1431:
1427:
1425:
1424:0-911403-17-5
1421:
1417:
1413:
1411:
1407:
1403:
1399:
1397:
1396:0-253-34166-3
1393:
1389:
1385:
1383:
1382:0-674-88845-6
1379:
1375:
1371:
1369:
1368:0-945193-75-0
1365:
1361:
1357:
1356:
1352:
1343:
1340:
1336:
1330:
1327:
1323:
1317:
1314:
1308:
1305:
1299:
1296:
1290:
1287:
1282:
1276:
1273:
1267:
1263:
1259:
1257:1-85868-185-5
1253:
1249:
1242:
1239:
1234:
1230:
1226:
1221:
1218:
1206:
1202:
1196:
1193:
1187:
1181:
1177:
1173:
1172:
1167:
1166:Tyrrell, John
1163:
1156:
1154:
1150:
1139:
1135:
1129:
1126:
1122:
1117:
1114:
1108:
1098:
1095:
1088:
1083:
1080:
1078:
1075:
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1068:
1065:
1063:
1060:
1058:
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1050:
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1045:
1043:
1040:
1038:
1035:
1034:
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1029:
1027:
1022:
1020:
1016:
1012:
1008:
1004:
999:
991:
989:
987:
983:
980:
976:
972:
968:
961:
957:
953:
949:
947:
946:tortoiseshell
943:
939:
935:
931:
927:
919:
915:
911:
907:
905:
896:
892:
888:
884:
880:
879:
874:
873:
872:
870:
867:
863:
858:
856:
852:
851:tortoiseshell
848:
844:
840:
836:
827:
825:
822:
817:
813:
809:
805:
802:of a tone, a
801:
797:
779:
774:
726:
706:
704:
702:
693:
686:
681:
677:
674:
668:
663:
658:
653:
648:
642:
636:
631:
627:
623:
620:
612:
607:
600:
598:
595:
590:
589:
583:
577:
571:
562:
551:
547:
541:
537:
530:
528:
524:
522:
518:
517:harpichordium
514:
510:
506:
502:
498:
490:
485:
478:
470:
466:
462:
455:
453:
451:
447:
443:
439:
434:
430:
426:
422:
418:
414:
410:
397:
391:
384:
379:
377:
375:
371:
367:
362:
358:
354:
350:
347:, to which a
346:
338:
336:
335:(see below).
334:
330:
326:
322:
318:
314:
313:Jacobean eras
310:
305:
303:
298:
293:
292:
286:
282:
274:
272:
270:
266:
262:
254:
252:
250:
242:
240:
238:
234:
230:
226:
222:
213:
209:
205:
201:
198:
194:
178:
167:
164:
163:Playing range
160:
157:
154:
152:
148:
143:
137:
132:
120:
117:
109:
98:
95:
91:
88:
84:
81:
77:
74:
70:
67: –
66:
62:
61:Find sources:
55:
51:
45:
44:
39:This article
37:
33:
28:
27:
22:
2685:
2678:
2649:Architecture
2583:Jacob Bathen
2300:John Dowland
2170:William Byrd
2044:Leonel Power
1751:Short octave
1714:
1631:Harmonichord
1523:
1515:
1507:
1499:
1461:
1443:
1429:
1415:
1401:
1387:
1373:
1359:
1342:
1334:
1329:
1321:
1316:
1307:
1298:
1289:
1275:
1247:
1241:
1236:Virginalls.”
1220:
1208:. Retrieved
1204:
1195:
1169:
1141:. Retrieved
1137:
1128:
1116:
1097:
1030:
1023:
997:
995:
986:wedding cake
964:
955:
922:
913:
901:
859:
831:
778:Class Douwes
775:
725:short octave
710:
698:
629:
616:
586:
566:
525:
521:arpichordium
520:
516:
496:
494:
464:
406:
352:
342:
332:
328:
325:William Byrd
306:
289:
278:
258:
246:
220:
218:
142:Hans Ruckers
112:
103:
93:
86:
79:
72:
60:
48:Please help
43:verification
40:
2639:Renaissance
2634:Early music
2530:Netherlands
2510:Elizabethan
2365:Jacopo Peri
2335:Alonso Lobo
2295:John Cooper
2157:Late (1530)
2117:Jean Mouton
2029:Jean Japart
2019:Walter Frye
1860:Maintenance
1833:Innovations
1779:Split sharp
1769:Frequencies
1710:Synthesizer
1636:Harpsichord
1574:Instruments
1250:. Carlton.
1003:virginalist
982:rose window
759:(54 notes,
557: 1600
446:rectangular
393:An Italian
309:Elizabethan
302:Virgin Mary
261:harpsichord
249:harpsichord
243:Description
229:harpsichord
204:harpsichord
65:"Virginals"
2725:Categories
2664:Philosophy
2659:Literature
2627:Background
2493:Traditions
2469:Magnificat
2459:Intermedio
2403:Burgundian
1797:Expression
1666:Reed organ
1661:Pipe organ
1626:Fortepiano
1606:Clavichord
1229:Great Fire
1201:"Virginal"
1143:2017-01-08
1109:References
926:grotesques
862:arabesques
828:Decoration
773:octaves).
652:soundboard
613:89.4.1196)
501:soundboard
374:clavichord
317:clavichord
235:and early
191:(54 notes)
106:April 2021
76:newspapers
2479:Offertory
2408:Colorists
2270:Mannerism
1828:Acoustics
1616:Claviharp
1067:Parthenia
998:virginals
996:The word
975:parchment
930:marquetry
800:intervals
747:sounded E
737:sounded D
442:hexagonal
429:spinetten
275:Etymology
255:Mechanism
239:periods.
221:virginals
129:Virginals
2700:Category
2677: ←
2540:Portugal
2464:Madrigal
2438:Venetian
1715:Virginal
1646:Melodica
1591:Carillon
1586:Calliope
1266:37009422
1210:19 April
1168:(eds.).
821:ottavini
816:8′ pitch
744:♯
734:♯
673:ottavino
667:ottavino
657:ottavino
647:ottavino
641:ottavino
594:ottavino
582:ottavino
576:Ottavini
570:ottavino
531:Ottavini
505:plectrum
497:muselaar
456:Muselars
421:Flanders
417:spinetta
396:spinetta
349:keyboard
345:psaltery
2690:→
2520:Germany
2500:British
1843:Aliquot
1807:Sustain
1724:Layouts
1678:Orphica
1596:Celesta
1563:Musical
1528:. 1905.
1512:. 1921.
934:boxwood
789:⁄
768:⁄
626:Ruckers
619:Flemish
489:Ruckers
450:vaulted
438:cypress
413:Italian
339:History
265:plectra
237:Baroque
227:of the
90:scholar
2710:Portal
2535:Poland
2515:France
2505:Cyprus
2484:Pavane
2278:c.1600
1883:Wrench
1878:Tuning
1868:Action
1838:Wiring
1789:Pedals
1705:Spinet
1641:Keytar
1450:
1436:
1422:
1408:
1394:
1380:
1366:
1264:
1254:
1182:
1164:&
979:gothic
843:marble
812:octave
804:fourth
687:29.90)
622:school
519:(also
513:melody
475:1672 (
433:bridge
409:spinet
321:spinet
291:virgin
208:spinet
92:
85:
78:
71:
63:
2654:Dance
2545:Spain
2525:Italy
2454:Carol
2433:Roman
1848:Cross
1683:Piano
1651:Organ
1601:Chime
1233:Pepys
1089:Notes
1013:, or
958:, by
938:ebony
916:, by
869:motto
866:Latin
847:agate
835:ivory
810:, an
808:fifth
796:pitch
662:jacks
511:-and-
509:chord
467:, by
452:lid.
425:Dutch
380:Types
364:high
285:virga
281:Latin
269:flute
223:is a
97:JSTOR
83:books
2474:Mass
2272:and
1802:Soft
1761:Keys
1565:and
1448:ISBN
1434:ISBN
1420:ISBN
1406:ISBN
1392:ISBN
1378:ISBN
1364:ISBN
1262:OCLC
1252:ISBN
1212:2021
1180:ISBN
1017:and
1009:and
971:lute
967:rose
806:, a
755:to F
719:to C
617:The
311:and
219:The
187:to F
179:to C
69:news
2644:Art
944:or
853:or
818:or
685:MET
611:MET
319:or
52:by
2727::
1522:.
1506:.
1260:.
1231:,
1203:.
1178:.
1152:^
1136:.
1021:.
940:,
849:,
845:,
841:,
837:,
715:/E
573:.
559:,
554:c.
552:,
473:c.
471:,
427::
415::
401:c.
376:.
210:,
206:,
174:/E
1956:e
1949:t
1942:v
1555:e
1548:t
1541:v
1283:.
1270:/
1268:.
1214:.
1190:
1188:.
1146:.
791:2
787:1
784:+
782:2
770:2
766:1
763:+
761:4
757:6
753:2
749:2
739:2
729:2
721:6
717:2
713:2
632:(
563:.
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189:6
185:2
181:6
176:2
172:2
170:C
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113:(
108:)
104:(
94:·
87:·
80:·
73:·
46:.
23:.
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