963:
472:
703:
921:
557:
617:
401:
691:
547:
714:, 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.
2707:
2717:
366:, 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
875:. 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
43:
510:) 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
495:
147:
518:, 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
1505:
374:
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
1490:
1012:
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
1011:
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
446:
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
1500:
1495:
278:, 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
262:. 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.
843:
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
934:
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
1246:
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
537:
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.
762:, 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
459:, 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
2285:
1016:. 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
962:
534:), 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.
338:
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
665:
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
871:
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
455:
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
590:
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
299:
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
1181:
980:, 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
825:, 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
984:, they were never carved integrally as part of the soundboard. In Italian instruments they were usually constructed by combining multiple layers of pierced
1965:
1564:
447:
keyboard that projected from the case, whilst northern virginals had their keyboards recessed in a keywell. The cases of
Italian instruments were made of
514:, with the result that any mechanical noise from these is amplified. In addition to mechanical noise, from the string vibrating against the descending
451:
wood and were of delicate manufacture, whilst northern virginals were usually more stoutly constructed of poplar. Early
Italian virginals were usually
1039:
actually bears the word in its original title: the other collections were attributed the name by music scholars in the 19th and 20th centuries.
734:(45 notes, 4 octaves), which allowed the performance of the music contemporarily available for the instruments. The lower octave was tuned to a
1420:
1194:
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471:
835:
at 4′ pitch, although there are no surviving
Ruckers instruments at the 4' pitch, and most probably none were ever made by his workshop.
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2741:
1057:
1036:
1462:
1448:
1434:
1406:
1392:
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126:
326:, any stringed keyboard instrument was often described as a virginals, and could equally apply to a harpsichord or possibly even a
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2240:
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1958:
1557:
702:
1535:
1474:
1052:
882:, usually connected with morality or music. Mottos could also be applied to the keywell batten. Some typical mottos include:
64:
809:
differences between the models offered by the
Ruckers workshops were by no means arbitrary, but corresponded to the musical
2746:
2210:
1983:
1131:
999:. In Flemish instruments, the rose was usually cast from lead and gilded, and usually incorporated the maker's initials.
362:
was applied, probably in the 15th century. The first mention of the word is in Paulus
Paulirinus of Prague's (1413–1471)
2520:
649:). This consisted of two instruments in one: a normal virginals (either spinet or muselar) with one 8′ register, and an
608:
was usually a separate instrument of its own, being fitted in its own outer case, just like larger Italian instruments.
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79:
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86:
31:
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442:). The keyboard is placed left of centre, and the strings are plucked at one end, although farther from the
93:
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1292:"The Hans Adler Collection of Early Instruments: Hans/Andreas Rueckers Epinette, Virginal or Harpsichord"
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2438:
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1779:
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414:
1586, provided with a false outer case. Note the projecting keyboard, unlike the inset Flemish examples.
305:, as it was most commonly played by young women, or from its sound, which is like a young girl's voice (
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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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music without complex left hand parts. The muselar could also be provided with a stop called the
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155:, 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
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868:, not to mention intricate painting, no expense was spared by those who could afford it.
791:(circa 1650 – circa 1725) mentions instruments from nominal 6 feet (1.8 m) down to
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342:, which implied a single instrument, possibly a harpsichord with two registers, or a
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687:, so that both instruments sounded simultaneously, giving a more brilliant effect.
335:
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152:
706:
Hans Ruckers' stand-alone virginal (1610) from the Hans Adler keyboard collection.
787:
Virginals were available in various sizes. The Dutch organist and harpsichordist
2649:
2644:
2375:
2345:
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2039:
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1373:, vol. IV. General Editor: Howard Schott. Pendragon Press, Hillsdale, NY, 2002.
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42:
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947:, or lavishly decorated (as was often the case in northern Italy) with ivory,
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was one among several who produced paintings including examples of virginals.
384:
371:
327:
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1626:
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985:
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936:
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Both Italian and northern schools produced a miniature virginals called the
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1211:
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A virginals is a smaller and simpler, rectangular or polygonal, form of
17:
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315:, as it was used by nuns to accompany hymns in honour of the Virgin.
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1943:
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146:
681:. The jacks of the larger instrument now activated the keys of the
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943:, but soundboards were rarely painted. Keytops could be of plain
981:
1947:
1546:
1035:
Out of the some dozen so-called English "virginal books", only
550:
1689 Menegoni Ottavino from the Hans Adler keyboard collection.
1369:
Germann, Sheridan, "Harpsichord Decoration – A Conspectus" In
36:
1236:
Diary of Samuel Pepys, August and September 1666. 2 September
1171:
Ripin, Edwin M. & Wraight, Denzil (2001). "Virginal". In
1145:"A Young Woman Seated at the Virginals by Johannes Vermeer"
354:
Like the harpsichord, the virginals has its origins in the
290:
The origin of the name is obscure. It may derive from the
675:
of the latter passed through a slot in the bottom of the
370:
records its first mention in English in 1530, when King
1455:
Keyboard Instruments at the Victoria and Albert Museum
1413:
Ruckers: A Harpsichord and Virginal Building Tradition
639:
family, produced a special type of virginals known as
1441:
The Harpsichord and Clavichord: an introductory study
274:'s, in that its wire strings are plucked by a set of
311:). A further view is that the name derives from the
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1132:
Vermeer: Painting of 'Lady Seated at the Virginals'
694:
Double virginal (1581) by Hans Ruckers the Elder. (
502:
school. Note the keyboard on the right of the case.
270:The mechanism of the virginals is identical to the
206:
172:
160:
67:. Unsourced material may be challenged and removed.
1042:A selection of English "virginal books" includes:
1112:The plural form may refer to a single instrument.
1443:, 2nd ed., London : Faber and Faber, 1973.
1348:. Galpin Society Journal, XXIII (1970), pp 35ff.
1259:The ultimate encyclopedia of musical instruments
1491:Double virginal by Ludovicus Growelus, ca. 1600
1182:The New Grove Dictionary of Music and Musicians
620:Double virginal (1600) by Lodewijck Grouwels. (
30:"Virginal" redirects here. For other uses, see
418:Spinet virginals (not to be confused with the
282:-like tone that's reduced in upper harmonics.
1959:
1558:
1429:, Seven Hills Books, Cincinnati, Ohio, 1986.
830:
682:
676:
666:
656:
650:
603:
591:
585:
579:
405:
27:Keyboard instrument of the harpsichord family
8:
722:The keyboard compass of most virginals was C
661:was stored (rather like a drawer) under the
242:family. It was popular in Europe during the
139:
1457:, Victoria and Albert Museum, London 1986.
1387:, 2nd ed., Harvard University Press, 1967.
904:
896:
886:
644:
306:
294:
1966:
1952:
1944:
1565:
1551:
1543:
1333:Grundig Ondersoek van de Toonen der Musijk
710:Among the instruments in the inventory of
410:or virginals after Alessandro Bertolotti,
988:, so that the final result looked like a
490:). Note the keyboard placed to the right.
379:, when it was eclipsed in England by the
127:Learn how and when to remove this message
1427:Musical Instruments and Their Decoration
1166:
1164:
1124:
1105:
901:("Music is the sweet solace of labour")
893:("Thus passes the glory of the world")
138:
1501:Muselar virginal by Jan Ruckers, 1622
1481:Double virginal by Hans Ruckers, 1581
1385:Three Centuries of Harpsichord Making
602:below). In the Italian tradition, an
598:
7:
1415:, Cambridge University Press, 2008.
1346:The "three foot" Flemish harpsichord
65:adding citations to reliable sources
1496:Octave virginal, Augsburg, ca. 1600
1486:Spinetta or virginal, Venice, 1540
1401:, Indiana University Press, 2003.
1003:Composers and collections of works
655:with one 4′ register. The smaller
422:) were made principally in Italy (
25:
1083:Priscilla Bunbury's Virginal Book
194:(45 notes); some Italian models C
2715:
2706:
2705:
2241:Giovanni Pierluigi da Palestrina
1073:Clement Matchett's Virginal Book
738:, so that the bottom E sounded C
145:
41:
1058:Elizabeth Rogers' Virginal Book
1037:Elizabeth Rogers' Virginal Book
52:needs additional citations for
1536:New International Encyclopedia
1475:The Metropolitan Museum of Art
1053:The Dublin Virginal Manuscript
1:
1984:List of Renaissance composers
1093:Anne Cromwell's Virginal Book
564:
483:
411:
1399:A History of the Harpsichord
1088:Will Forster's Virginal Book
909:("Music is the gift of God")
898:MVSICA DVLCE LABORVM LEVAMEN
1506:Ottavino, before 1668, Rome
561:Rectangular Octave Virginal
334:. Thus, the masterworks of
2763:
2614:Petrus Phalesius the Elder
2429:English Virginalist School
1520:Collier's New Encyclopedia
1371:The Historical Harpsichord
925:Lady standing at a muselar
572:Metropolitan Museum of Art
29:
2742:Early musical instruments
2685:
2396:Jan Pieterszoon Sweelinck
1981:
1257:Dearling, Robert (1996).
1063:Fitzwilliam Virginal Book
1030:Jan Pieterszoon Sweelinck
498:A typical muselar of the
383:, and in Germany, by the
368:Oxford English Dictionary
213:
179:
144:
32:Virginal (disambiguation)
1185:(2nd ed.). London:
889:SIC TRANSIT GLORIA MVNDI
805:feet (0.76 m). The
488:National Gallery, London
2424:English Madrigal School
1884:Piano Technicians Guild
959:among other materials.
939:, classical scenes, or
318:In England, during the
2266:Tomás Luis de Victoria
2070:Oswald von Wolkenstein
1068:My Ladye Nevells Booke
973:
931:
905:
897:
887:
831:
707:
699:
683:
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651:
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596:could be coupled (see
592:
586:
580:
575:
553:
503:
491:
439:
427:
415:
406:
307:
295:
2286:Transition to Baroque
2231:Pierre de Manchicourt
965:
923:
712:Henry VIII of England
705:
693:
619:
559:
549:
497:
474:
403:
372:Henry VIII of England
151:Flemish virginals by
2747:Keyboard instruments
2316:Girolamo Frescobaldi
2123:Cristóbal de Morales
1905:Amplifiers, speakers
1747:Generalized keyboard
1578:keyboard instruments
1473:Extant Virginals at
1187:Macmillan Publishers
1018:Girolamo Frescobaldi
866:semi-precious stones
635:, in particular the
61:improve this article
2434:Florentine Camerata
2406:Composition schools
2065:Gaspar van Weerbeke
1752:Isomorphic keyboard
1742:Enharmonic keyboard
1632:Electronic keyboard
1425:Rueger, Christoph,
1357:Germann, p. 28
364:Tractatus de musica
236:keyboard instrument
208:Related instruments
167:Keyboard instrument
141:
2629:Thomas Vautrollier
2609:Ottaviano Petrucci
2584:Pierre Attaingnant
2574:Hieronymus Andreae
2381:Michael Praetorius
2366:Claudio Monteverdi
2356:Giovanni de Macque
2351:Luzzasco Luzzaschi
2321:Alfonso Fontanelli
2211:Francisco Guerrero
2186:Antonio de Cabezón
2098:Thomas Crecquillon
2080:Middle (1470–1530)
2060:Johannes Tinctoris
2000:Alexander Agricola
1912:Keyboard amplifier
1832:Piano construction
1439:Russell, Raymond,
1238:In describing the
974:
932:
752:, and the bottom G
708:
700:
626:
576:
554:
504:
492:
476:Woman at a muselar
416:
2729:
2728:
2326:Giovanni Gabrieli
2153:Philippe Verdelot
2050:Johannes Ockeghem
1992:Early (1400–1470)
1975:Renaissance music
1941:
1940:
1421:978-0-521-06682-2
1397:Kottick, Edward,
1322:Hubbard 1967, 136
1313:Kottick 2003, 490
1304:O'Brien 1990, 347
1196:978-1-56159-239-5
1134:. Web.archive.org
1048:The Mulliner Book
995:, or an inverted
913:The Dutch artist
718:Compass and pitch
340:pair of virginals
228:
227:
137:
136:
129:
111:
16:(Redirected from
2754:
2719:
2709:
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2589:Vittorio Baldini
2566:Music publishing
2341:Hans Leo Hassler
2296:Gregorio Allegri
2251:Cipriano de Rore
2226:Vicente Lusitano
2221:Orlando di Lasso
2176:Jacques Arcadelt
2143:Pierre de la Rue
2138:Josquin des Prez
2118:Clément Janequin
2113:Antoine de Févin
2103:Antonius Divitis
2045:Johannes Martini
2020:Guillaume Du Fay
1968:
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1945:
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1530:"Virginal"
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1514:"Virginal"
1411:O'Brien, Grant,
1383:Hubbard, Frank,
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1344:Edwin M. Ripin,
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1335:(Franeker, 1699)
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967:The Music Lesson
929:Johannes Vermeer
915:Johannes Vermeer
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906:MVSICA DONVM DEI
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641:Mother and Child
612:Double virginals
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599:Double virginals
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480:Johannes Vermeer
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396:Spinet virginals
344:double virginals
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244:late Renaissance
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2604:Antonio Gardano
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2400:
2391:Heinrich Schütz
2386:Philippe Rogier
2336:Orlando Gibbons
2288:
2284:
2275:
2271:Giaches de Wert
2261:Christopher Tye
2216:Claude Le Jeune
2206:Claude Goudimel
2201:Nicolas Gombert
2196:Andrea Gabrieli
2191:Jacobus Clemens
2162:
2158:Adrian Willaert
2088:Martin Agricola
2074:
2010:Antoine Busnois
2005:Gilles Binchois
1986:
1977:
1972:
1942:
1937:
1921:
1900:
1865:
1827:
1794:
1785:Manual keyboard
1766:
1730:
1711:Piano accordion
1580:
1571:
1527:
1511:
1471:
1366:
1364:Further reading
1361:
1356:
1352:
1343:
1339:
1330:
1326:
1321:
1317:
1312:
1308:
1303:
1299:
1290:
1289:
1285:
1269:
1256:
1255:
1251:
1234:
1230:
1220:
1218:
1216:Everything2.com
1210:
1209:
1205:
1197:
1170:
1169:
1162:
1153:
1151:
1149:Philamuseum.org
1143:
1142:
1138:
1130:
1126:
1122:
1117:
1116:
1111:
1107:
1102:
1097:
1022:Giovanni Picchi
1005:
953:mother-of-pearl
850:mother-of-pearl
841:
801:
797:
794:
792:
780:
776:
773:
771:
769:
765:
761:
754:
753:
751:
744:
743:
741:
733:
729:
725:
720:
646:moeder und kind
614:
567:
544:
506:Muselars (also
469:
430:), England and
398:
393:
381:bentside spinet
352:
288:
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133:
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70:
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46:
35:
28:
23:
22:
15:
12:
11:
5:
2760:
2758:
2750:
2749:
2744:
2734:
2733:
2727:
2726:
2724:
2723:
2713:
2695:
2691:Medieval music
2687:
2686:
2683:
2682:
2680:
2679:
2678:
2677:
2672:
2667:
2662:
2657:
2647:
2641:
2639:
2635:
2634:
2632:
2631:
2626:
2624:Tielman Susato
2621:
2616:
2611:
2606:
2601:
2599:Valerio Dorico
2596:
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2477:
2472:
2467:
2461:
2459:
2455:
2454:
2452:
2451:
2446:
2441:
2439:Franco-Flemish
2436:
2431:
2426:
2421:
2416:
2410:
2408:
2402:
2401:
2399:
2398:
2393:
2388:
2383:
2378:
2373:
2368:
2363:
2358:
2353:
2348:
2343:
2338:
2333:
2331:Carlo Gesualdo
2328:
2323:
2318:
2313:
2308:
2303:
2301:Thomas Campion
2298:
2292:
2290:
2277:
2276:
2274:
2273:
2268:
2263:
2258:
2253:
2248:
2246:Costanzo Porta
2243:
2238:
2236:Hans Neusidler
2233:
2228:
2223:
2218:
2213:
2208:
2203:
2198:
2193:
2188:
2183:
2178:
2172:
2170:
2164:
2163:
2161:
2160:
2155:
2150:
2145:
2140:
2135:
2130:
2125:
2120:
2115:
2110:
2108:Costanzo Festa
2105:
2100:
2095:
2093:Antoine Brumel
2090:
2084:
2082:
2076:
2075:
2073:
2072:
2067:
2062:
2057:
2052:
2047:
2042:
2037:
2035:Heinrich Isaac
2032:
2027:
2025:John Dunstaple
2022:
2017:
2015:Loyset Compère
2012:
2007:
2002:
1996:
1994:
1988:
1987:
1982:
1979:
1978:
1973:
1971:
1970:
1963:
1956:
1948:
1939:
1938:
1936:
1935:
1933:Prepared piano
1929:
1927:
1923:
1922:
1920:
1919:
1917:Leslie speaker
1914:
1908:
1906:
1902:
1901:
1899:
1898:
1897:
1896:
1886:
1881:
1875:
1873:
1867:
1866:
1864:
1863:
1862:
1861:
1856:
1846:
1841:
1835:
1833:
1829:
1828:
1826:
1825:
1823:Pedal keyboard
1820:
1815:
1810:
1804:
1802:
1796:
1795:
1793:
1792:
1787:
1782:
1776:
1774:
1768:
1767:
1765:
1764:
1759:
1757:Jankó keyboard
1754:
1749:
1744:
1738:
1736:
1732:
1731:
1729:
1728:
1723:
1718:
1713:
1708:
1707:
1706:
1704:Electric piano
1701:
1691:
1686:
1685:
1684:
1679:
1674:
1669:
1659:
1654:
1649:
1644:
1639:
1634:
1629:
1624:
1622:Clavicytherium
1619:
1614:
1609:
1604:
1599:
1594:
1588:
1586:
1582:
1581:
1572:
1570:
1569:
1562:
1555:
1547:
1509:
1508:
1503:
1498:
1493:
1488:
1483:
1470:
1469:External links
1467:
1466:
1465:
1453:Yorke, James,
1451:
1437:
1423:
1409:
1395:
1381:
1365:
1362:
1360:
1359:
1350:
1337:
1331:Klaas Douwes,
1324:
1315:
1306:
1297:
1283:
1267:
1249:
1228:
1203:
1195:
1173:Sadie, Stanley
1160:
1136:
1123:
1121:
1118:
1115:
1114:
1104:
1103:
1101:
1098:
1096:
1095:
1090:
1085:
1080:
1075:
1070:
1065:
1060:
1055:
1050:
1044:
1026:Samuel Scheidt
1004:
1001:
911:
910:
902:
894:
840:
837:
767:
763:
759:
749:
742:, the bottom F
739:
731:
727:
723:
719:
716:
613:
610:
543:
540:
468:
465:
397:
394:
392:
389:
377:Baroque period
351:
348:
308:vox virginalis
287:
284:
267:
264:
255:
252:
226:
225:
223:clavicytherium
211:
210:
204:
203:
199:
195:
191:
186:
182:
177:
176:
170:
169:
164:
162:Classification
158:
157:
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135:
134:
49:
47:
40:
26:
24:
14:
13:
10:
9:
6:
4:
3:
2:
2759:
2748:
2745:
2743:
2740:
2739:
2737:
2722:
2718:
2714:
2712:
2704:
2703:
2700:
2699:
2698:Baroque music
2693:
2692:
2684:
2676:
2673:
2671:
2668:
2666:
2663:
2661:
2658:
2656:
2653:
2652:
2651:
2648:
2646:
2643:
2642:
2640:
2636:
2630:
2627:
2625:
2622:
2620:
2617:
2615:
2612:
2610:
2607:
2605:
2602:
2600:
2597:
2595:
2592:
2590:
2587:
2585:
2582:
2580:
2579:Andrea Antico
2577:
2575:
2572:
2571:
2569:
2567:
2563:
2557:
2554:
2552:
2549:
2547:
2544:
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2537:
2534:
2532:
2529:
2527:
2524:
2522:
2519:
2517:
2514:
2512:
2509:
2508:
2506:
2502:
2496:
2493:
2491:
2488:
2486:
2483:
2481:
2478:
2476:
2473:
2471:
2468:
2466:
2463:
2462:
2460:
2458:Musical forms
2456:
2450:
2447:
2445:
2442:
2440:
2437:
2435:
2432:
2430:
2427:
2425:
2422:
2420:
2417:
2415:
2412:
2411:
2409:
2407:
2403:
2397:
2394:
2392:
2389:
2387:
2384:
2382:
2379:
2377:
2374:
2372:
2371:Thomas Morley
2369:
2367:
2364:
2362:
2361:Luca Marenzio
2359:
2357:
2354:
2352:
2349:
2347:
2344:
2342:
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2337:
2334:
2332:
2329:
2327:
2324:
2322:
2319:
2317:
2314:
2312:
2309:
2307:
2304:
2302:
2299:
2297:
2294:
2293:
2291:
2287:
2282:
2278:
2272:
2269:
2267:
2264:
2262:
2259:
2257:
2256:Thomas Tallis
2254:
2252:
2249:
2247:
2244:
2242:
2239:
2237:
2234:
2232:
2229:
2227:
2224:
2222:
2219:
2217:
2214:
2212:
2209:
2207:
2204:
2202:
2199:
2197:
2194:
2192:
2189:
2187:
2184:
2182:
2179:
2177:
2174:
2173:
2171:
2169:
2165:
2159:
2156:
2154:
2151:
2149:
2148:John Taverner
2146:
2144:
2141:
2139:
2136:
2134:
2133:Jacob Obrecht
2131:
2129:
2126:
2124:
2121:
2119:
2116:
2114:
2111:
2109:
2106:
2104:
2101:
2099:
2096:
2094:
2091:
2089:
2086:
2085:
2083:
2081:
2077:
2071:
2068:
2066:
2063:
2061:
2058:
2056:
2053:
2051:
2048:
2046:
2043:
2041:
2038:
2036:
2033:
2031:
2028:
2026:
2023:
2021:
2018:
2016:
2013:
2011:
2008:
2006:
2003:
2001:
1998:
1997:
1995:
1993:
1989:
1985:
1980:
1976:
1969:
1964:
1962:
1957:
1955:
1950:
1949:
1946:
1934:
1931:
1930:
1928:
1926:Miscellaneous
1924:
1918:
1915:
1913:
1910:
1909:
1907:
1903:
1895:
1892:
1891:
1890:
1887:
1885:
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1880:
1877:
1876:
1874:
1872:
1868:
1860:
1857:
1855:
1852:
1851:
1850:
1847:
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1842:
1840:
1837:
1836:
1834:
1830:
1824:
1821:
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1816:
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1811:
1809:
1806:
1805:
1803:
1801:
1797:
1791:
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1786:
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1773:
1769:
1763:
1760:
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1755:
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1748:
1745:
1743:
1740:
1739:
1737:
1733:
1727:
1724:
1722:
1719:
1717:
1714:
1712:
1709:
1705:
1702:
1700:
1699:Digital piano
1697:
1696:
1695:
1692:
1690:
1687:
1683:
1682:Theatre organ
1680:
1678:
1675:
1673:
1670:
1668:
1667:Hammond organ
1665:
1664:
1663:
1660:
1658:
1655:
1653:
1650:
1648:
1645:
1643:
1640:
1638:
1635:
1633:
1630:
1628:
1625:
1623:
1620:
1618:
1615:
1613:
1610:
1608:
1605:
1603:
1600:
1598:
1595:
1593:
1592:Bowed clavier
1590:
1589:
1587:
1583:
1579:
1575:
1568:
1563:
1561:
1556:
1554:
1549:
1548:
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1538:
1537:
1531:
1525:
1522:
1521:
1515:
1507:
1504:
1502:
1499:
1497:
1494:
1492:
1489:
1487:
1484:
1482:
1479:
1478:
1477:
1476:
1468:
1464:
1463:0-948107-04-9
1460:
1456:
1452:
1450:
1449:0-571-04795-5
1446:
1442:
1438:
1436:
1435:0-911403-17-5
1432:
1428:
1424:
1422:
1418:
1414:
1410:
1408:
1407:0-253-34166-3
1404:
1400:
1396:
1394:
1393:0-674-88845-6
1390:
1386:
1382:
1380:
1379:0-945193-75-0
1376:
1372:
1368:
1367:
1363:
1354:
1351:
1347:
1341:
1338:
1334:
1328:
1325:
1319:
1316:
1310:
1307:
1301:
1298:
1293:
1287:
1284:
1278:
1274:
1270:
1268:1-85868-185-5
1264:
1260:
1253:
1250:
1245:
1241:
1237:
1232:
1229:
1217:
1213:
1207:
1204:
1198:
1192:
1188:
1184:
1183:
1178:
1177:Tyrrell, John
1174:
1167:
1165:
1161:
1150:
1146:
1140:
1137:
1133:
1128:
1125:
1119:
1109:
1106:
1099:
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1038:
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1031:
1027:
1023:
1019:
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1010:
1002:
1000:
998:
994:
991:
987:
983:
979:
972:
968:
964:
960:
958:
957:tortoiseshell
954:
950:
946:
942:
938:
930:
926:
922:
918:
916:
907:
903:
899:
895:
891:
890:
885:
884:
883:
881:
878:
874:
869:
867:
863:
862:tortoiseshell
859:
855:
851:
847:
838:
836:
833:
828:
824:
820:
816:
813:of a tone, a
812:
808:
790:
785:
737:
717:
715:
713:
704:
697:
692:
688:
685:
679:
674:
669:
664:
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623:
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611:
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606:
601:
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594:
588:
582:
573:
562:
558:
552:
548:
541:
539:
535:
533:
529:
528:harpichordium
525:
521:
517:
513:
509:
501:
496:
489:
481:
477:
473:
466:
464:
462:
458:
454:
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441:
437:
433:
429:
425:
421:
408:
402:
395:
390:
388:
386:
382:
378:
373:
369:
365:
361:
358:, to which a
357:
349:
347:
346:(see below).
345:
341:
337:
333:
329:
325:
324:Jacobean eras
321:
316:
314:
309:
304:
303:
297:
293:
285:
283:
281:
277:
273:
265:
263:
261:
253:
251:
249:
245:
241:
237:
233:
224:
220:
216:
212:
209:
205:
189:
178:
175:
174:Playing range
171:
168:
165:
163:
159:
154:
148:
143:
131:
128:
120:
109:
106:
102:
99:
95:
92:
88:
85:
81:
78: –
77:
73:
72:Find sources:
66:
62:
56:
55:
50:This article
48:
44:
39:
38:
33:
19:
2696:
2689:
2660:Architecture
2594:Jacob Bathen
2311:John Dowland
2181:William Byrd
2055:Leonel Power
1762:Short octave
1725:
1642:Harmonichord
1534:
1526:
1518:
1510:
1472:
1454:
1440:
1426:
1412:
1398:
1384:
1370:
1353:
1345:
1340:
1332:
1327:
1318:
1309:
1300:
1286:
1258:
1252:
1247:Virginalls.”
1231:
1219:. Retrieved
1215:
1206:
1180:
1152:. Retrieved
1148:
1139:
1127:
1108:
1041:
1034:
1008:
1006:
997:wedding cake
975:
966:
933:
924:
912:
870:
842:
789:Class Douwes
786:
736:short octave
721:
709:
640:
627:
597:
577:
536:
532:arpichordium
531:
527:
507:
505:
475:
417:
363:
353:
343:
339:
336:William Byrd
317:
300:
289:
269:
257:
231:
229:
153:Hans Ruckers
123:
114:
104:
97:
90:
83:
71:
59:Please help
54:verification
51:
2650:Renaissance
2645:Early music
2541:Netherlands
2521:Elizabethan
2376:Jacopo Peri
2346:Alonso Lobo
2306:John Cooper
2168:Late (1530)
2128:Jean Mouton
2040:Jean Japart
2030:Walter Frye
1871:Maintenance
1844:Innovations
1790:Split sharp
1780:Frequencies
1721:Synthesizer
1647:Harpsichord
1585:Instruments
1261:. Carlton.
1014:virginalist
993:rose window
770:(54 notes,
568: 1600
457:rectangular
404:An Italian
320:Elizabethan
313:Virgin Mary
272:harpsichord
260:harpsichord
254:Description
240:harpsichord
215:harpsichord
76:"Virginals"
2736:Categories
2675:Philosophy
2670:Literature
2638:Background
2504:Traditions
2480:Magnificat
2470:Intermedio
2414:Burgundian
1808:Expression
1677:Reed organ
1672:Pipe organ
1637:Fortepiano
1617:Clavichord
1240:Great Fire
1212:"Virginal"
1154:2017-01-08
1120:References
937:grotesques
873:arabesques
839:Decoration
784:octaves).
663:soundboard
624:89.4.1196)
512:soundboard
385:clavichord
328:clavichord
246:and early
202:(54 notes)
117:April 2021
87:newspapers
2490:Offertory
2419:Colorists
2281:Mannerism
1839:Acoustics
1627:Claviharp
1078:Parthenia
1009:virginals
1007:The word
986:parchment
941:marquetry
811:intervals
758:sounded E
748:sounded D
453:hexagonal
440:spinetten
286:Etymology
266:Mechanism
250:periods.
232:virginals
140:Virginals
2711:Category
2688: ←
2551:Portugal
2475:Madrigal
2449:Venetian
1726:Virginal
1657:Melodica
1602:Carillon
1597:Calliope
1277:37009422
1221:19 April
1179:(eds.).
832:ottavini
827:8′ pitch
755:♯
745:♯
684:ottavino
678:ottavino
668:ottavino
658:ottavino
652:ottavino
605:ottavino
593:ottavino
587:Ottavini
581:ottavino
542:Ottavini
516:plectrum
508:muselaar
467:Muselars
432:Flanders
428:spinetta
407:spinetta
360:keyboard
356:psaltery
18:Virginal
2701:→
2531:Germany
2511:British
1854:Aliquot
1818:Sustain
1735:Layouts
1689:Orphica
1607:Celesta
1574:Musical
1539:. 1905.
1523:. 1921.
945:boxwood
800:⁄
779:⁄
637:Ruckers
630:Flemish
500:Ruckers
461:vaulted
449:cypress
424:Italian
350:History
276:plectra
248:Baroque
238:of the
101:scholar
2721:Portal
2546:Poland
2526:France
2516:Cyprus
2495:Pavane
2289:c.1600
1894:Wrench
1889:Tuning
1879:Action
1849:Wiring
1800:Pedals
1716:Spinet
1652:Keytar
1461:
1447:
1433:
1419:
1405:
1391:
1377:
1275:
1265:
1193:
1175:&
990:gothic
854:marble
823:octave
815:fourth
698:29.90)
633:school
530:(also
524:melody
486:1672 (
444:bridge
420:spinet
332:spinet
302:virgin
219:spinet
103:
96:
89:
82:
74:
2665:Dance
2556:Spain
2536:Italy
2465:Carol
2444:Roman
1859:Cross
1694:Piano
1662:Organ
1612:Chime
1244:Pepys
1100:Notes
1024:, or
969:, by
949:ebony
927:, by
880:motto
877:Latin
858:agate
846:ivory
821:, an
819:fifth
807:pitch
673:jacks
522:-and-
520:chord
478:, by
463:lid.
436:Dutch
391:Types
375:high
296:virga
292:Latin
280:flute
234:is a
108:JSTOR
94:books
2485:Mass
2283:and
1813:Soft
1772:Keys
1576:and
1459:ISBN
1445:ISBN
1431:ISBN
1417:ISBN
1403:ISBN
1389:ISBN
1375:ISBN
1273:OCLC
1263:ISBN
1223:2021
1191:ISBN
1028:and
1020:and
982:lute
978:rose
817:, a
766:to F
730:to C
628:The
322:and
230:The
198:to F
190:to C
80:news
2655:Art
955:or
864:or
829:or
696:MET
622:MET
330:or
63:by
2738::
1533:.
1517:.
1271:.
1242:,
1214:.
1189:.
1163:^
1147:.
1032:.
951:,
860:,
856:,
852:,
848:,
726:/E
584:.
570:,
565:c.
563:,
484:c.
482:,
438::
426::
412:c.
387:.
221:,
217:,
185:/E
1967:e
1960:t
1953:v
1566:e
1559:t
1552:v
1294:.
1281:/
1279:.
1225:.
1201:
1199:.
1157:.
802:2
798:1
795:+
793:2
781:2
777:1
774:+
772:4
768:6
764:2
760:2
750:2
740:2
732:6
728:2
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643:(
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200:6
196:2
192:6
187:2
183:2
181:C
130:)
124:(
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115:(
105:·
98:·
91:·
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