A harpsichord (Italian : clavicembalo, French : clavecin, German : Cembalo, Spanish : clavecín, Portuguese : cravo) is a musical instrument played by means of a keyboard. Like a pipe organ, a harpsichord may have more than one keyboard manual and harpsichords may have stop buttons which add or remove additional octaves. Some harpsichords may have a lute stop, which simulates the sound of a plucked lute. This activates a row of levers that turn a trigger mechanism that plucks one or more strings with a small plectrum made from quill or plastic. The strings are under tension on a soundboard, which is mounted in a wooden case; the soundboard amplifies the vibrations from the strings so that the listeners can hear it.
The term denotes the whole family of similar plucked-keyboard instruments, including the smaller virginals, muselar, and spinet. The harpsichord was widely used in Renaissance and Baroque music, both as an accompaniment instrument and as a soloing instrument. During the Baroque era, the harpsichord was a standard part of the continuo group, the musicians who performed the basso continuo part that acted as the foundation for many musical pieces in this era. During the late 18th century, with the development of the fortepiano (and then the increasing use of the piano in the 19th century) the harpsichord gradually disappeared from the musical scene (except in opera, where it continued to be used to accompany recitative). In the 20th century, it made a resurgence, being used in historically informed performances of older music, in new compositions, and, in rare cases, in certain styles of popular music (e.g., Baroque pop).
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 string tension. A different approach was taken in the Southern Netherlands starting in the late 16th century, notably by the Ruckers family. Their harpsichords used a heavier construction and produced a more powerful and distinctive tone. They included the first harpsichords with two keyboards, used for transposition.
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. Instruments from the peak of the French tradition, by makers such as the Blanchet family and Pascal Taskin, are among the most widely admired of all harpsichords, and are frequently used as models for the construction of modern instruments. In England, the Kirkman and Shudi firms produced sophisticated harpsichords of great power and sonority. German builders extended the sound repertoire of the instrument by adding sixteen foot and two foot choirs; these instruments have recently served as models for modern builders.
In the late 18th century the harpsichord was supplanted by the piano and almost disappeared from view for most of the 19th century: an exception was its continued use in opera for accompanying recitative, but the piano sometimes displaced it even there. 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 Frank Hubbard, William Dowd, and Martin Skowroneck sought to re-establish the building traditions of the Baroque period. Harpsichords of this type of historically informed building practice dominate the current scene.
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 plectrum (a wedge-shaped piece of quill, 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.
Each string is wound around a tuning pin, normally at the end of the string closer to the player. When rotated with a wrench or tuning hammer, the tuning pin adjusts the tension so that the string sounds the correct pitch. Tuning pins are held tightly in holes drilled in the pinblock or wrestplank, an oblong hardwood plank. Proceeding from the tuning pin, a string next passes over the nut, a sharp edge that is made of hardwood and is normally attached to the wrestplank. The section of the string beyond the nut forms its vibrating length, which is plucked and creates sound.
At the other end of its vibrating length, the string passes over the bridge, another sharp edge made of hardwood. 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 soundboard , a thin panel of wood usually made of spruce, fir or—in some Italian harpsichords—cypress. 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 hitchpin that secures it to the case.
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 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 harmonics, and produces a "nasal" sound quality. The mechanism of the instrument, called "stops" (following the use of the term in pipe organs) 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.
A particularly vivid effect is obtained when the strings plucked simultaneously are an octave 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.
When describing a harpsichord it is customary to specify its choirs of strings, often called its disposition. To describe the pitch of the choirs of strings, pipe organ terminology is used. Strings at eight foot pitch (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.
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 that a player can have, say, 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.
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, the player can select any of the sets of jacks labeled in "figure 4" as A, or B and C, or all three.
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 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 lute.
The use of multiple manuals in a harpsichord was not originally provided for the flexibility in choosing which strings would sound, but rather for transposition of the instrument to play in different keys (see History of the harpsichord ).
Some early harpsichords used a short octave for the lowest register. The rationale behind this system was that the low notes F♯ and G♯ are seldom needed in early music. Deep bass notes typically form the root of the chord, and F♯ and G♯ 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 that the lowest note is a C, played on a key that normally would sound E.
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 and sturdiness: Italian harpsichords are often of light construction; heavier construction is found in the later Flemish instruments and those derived from them.
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 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 – 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 false inner–outer, 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.
Many harpsichords have a lid that can be raised, a cover for the keyboard, and a music stand for holding sheet music and scores.
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 chinoiserie, or occasionally with highly elaborate painted artwork.
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.
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 face in opposite directions, and each plucks a string adjacent to the gap.
The English diarist Samuel Pepys mentions his "tryangle" several times. This was not the percussion instrument that we call triangle today; rather, it was a name for octave-pitched spinets, which were triangular in shape.
A clavicytherium is a harpsichord with the soundboard and strings mounted vertically facing the player, the same space-saving principle as an upright piano.In a clavicytherium, the jacks move horizontally without the assistance of gravity, so that clavicytherium actions are more complex than those of other harpsichords.
Ottavini are small spinets or virginals at four-foot pitch. 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 8' 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.
Occasionally, harpsichords were built which included another set or sets of strings underneath and played by foot-operated pedal keyboard 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. The jacks are similar, but they will benefit from being arranged back to back, since the two [bass] octaves take as much space as four in an ordinary harpsichordPrior 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 E. Power Biggs.
The archicembalo, built in the 16th century, had an unusual keyboard layout, designed to accommodate variant tuning systems demanded by compositional practice and theoretical experimentation. More common were instruments with split sharps, also designed to accommodate the tuning systems of the time.
The folding harpsichord was an instrument that could be folded up to make it more compact, thus facilitating travelling with it.
On the whole, earlier harpsichords have smaller ranges than later ones, although there are many exceptions. The largest harpsichords have a range of just over five octaves, and the smallest have under four. Usually, the shortest keyboards were given extended range in the bass with a "short octave". The traditional pitch range for a 5-octave instrument is F1–F6 (FF–f‴).
Tuning pitch is often taken to be A4 = 415 Hz, roughly a semitone lower than the modern standard concert pitch of A4 = 440 Hz. An accepted exception is for French baroque repertoire, which is often performed with a = 392 Hz, approximately a semitone lower again. See Jean-Philippe Rameau's Treatise on Harmony (1722) [Dover Publications], 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.
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 shifted.
The great bulk of the standard repertoire for the harpsichord was written during its first historical flowering, the Renaissance and Baroque eras.
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 suites, fantasias, and fugues. Among the most famous composers who wrote for the harpsichord were the members of English virginal school of the late Renaissance, notably William Byrd (ca. 1540–1623). In France, a great number of highly characteristic solo works were created and compiled into four books of ordres by François Couperin (1668–1733). Domenico Scarlatti (1685–1757) began his career in Italy but wrote most of his solo harpsichord works in Spain; his most famous work is his series of 555 harpsichord sonatas. Perhaps the most celebrated composers who wrote for the harpsichord were Georg Friedrich Händel (1685–1759), who composed numerous suites for harpsichord, and especially J. S. Bach (1685–1750), whose solo works (for instance, the Well-Tempered Clavier and the Goldberg Variations), continue to be performed very widely, often on the piano. Bach was also a pioneer of the harpsichord concerto, both in works designated as such, and in the harpsichord part of his Fifth Brandenburg Concerto.
Two of the most prominent composers of the Classical era, Joseph Haydn (1732–1809) and Wolfgang Amadeus Mozart (1756–1791), wrote harpsichord music. For both, the instrument featured in the earlier period of their careers, [ citation needed ]
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 Arnold Dolmetsch, the harpsichordists Violet Gordon-Woodhouse (1872–1951); in France Wanda Landowska (1879–1959); and in Germany and America, Edith Weiss-Mann (1885-1951), were at the forefront of the instrument's renaissance. Concertos for the instrument were written by Francis Poulenc (the Concert champêtre , 1927–28), and Manuel de Falla. Elliott Carter's Double Concerto is scored for harpsichord, piano and two chamber orchestras. For a detailed account of music composed for the revived harpsichord, see Contemporary harpsichord.
The clavichord is a European stringed rectangular keyboard instrument that was used largely in the Late Middle Ages, through the Renaissance, Baroque and Classical eras. Historically, it was mostly used as a practice instrument and as an aid to composition, not being loud enough for larger performances. The clavichord produces sound by striking brass or iron strings with small metal blades called tangents. Vibrations are transmitted through the bridge(s) to the soundboard.
A musical keyboard is the set of adjacent depressible levers or keys on a musical instrument. Keyboards typically contain keys for playing the twelve notes of the Western musical scale, with a combination of larger, longer keys and smaller, shorter keys that repeats at the interval of an octave. Depressing a key on the keyboard makes the instrument produce sounds—either by mechanically striking a string or tine, plucking a string (harpsichord), causing air to flow through a pipe organ, striking a bell (carillon), or, on electric and electronic keyboards, completing a circuit. Since the most commonly encountered keyboard instrument is the piano, the keyboard layout is often referred to as the piano keyboard.
The piano is an acoustic, stringed musical instrument invented in Italy by Bartolomeo Cristofori around the year 1700, in which the strings are struck by wooden hammers that are coated with a softer material. It is played using a keyboard, which is a row of keys that the performer presses down or strikes with the fingers and thumbs of both hands to cause the hammers to strike the strings.
String instruments, stringed instruments, or chordophones are musical instruments that produce sound from vibrating strings when the performer plays or sounds the strings in some manner.
A plectrum is a small flat tool used to pluck or strum a stringed instrument. For hand-held instruments such as guitars and mandolins, the plectrum is often called a pick and is a separate tool held in the player's hand. In harpsichords, the plectra are attached to the jack mechanism.
Bartolomeo Cristofori di Francesco was an Italian maker of musical instruments famous for inventing the piano.
A spinet is a smaller type of harpsichord or other keyboard instrument, such as a piano or organ.
The short octave was a method of assigning notes to keys in early keyboard instruments, for the purpose of giving the instrument an extended range in the bass range. The rationale behind this system was that the low notes F♯ and G♯ are seldom needed in early music. Deep bass notes typically form the root of the chord, and F♯ and G♯ 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. A closely related system, the broken octave, added more notes by using split keys: the front part and the back part of the (visible) key controlled separate levers and hence separate notes.
The virginals is a keyboard instrument of the harpsichord family. It was popular in Europe during the late Renaissance and early baroque periods.
A clavicytherium is a harpsichord in which the soundboard and strings are mounted vertically facing the player. The primary purpose of making a harpsichord vertical is the same as in the later upright piano, namely to save floor space. In a clavicytherium, the jacks move horizontally without the assistance of gravity, so that clavicytherium actions are more complex than those of other harpsichords.
The Ruckers family were harpsichord and virginal makers from the Southern Netherlands based in Antwerp in the 16th and 17th century. Their influence stretched well into the 18th century, and to the harpsichord revival of the 20th.
The yueqin or yue qin, formerly romanized as yüeh-ch‘in and also known as the moon guitar, moon lute, gekkin, wolgeum, or la-ch‘in, is a traditional Chinese string instrument. It is a lute with a round, hollow wooden body which gives it the nickname moon guitar. It has a short fretted neck and four strings tuned in courses of two, generally tuned to the interval of a perfect fifth. Occasionally, the body of the yueqin may be octagonal in shape. It is an important instrument in the Peking opera orchestra, often taking the role of main melodic instrument in lieu of the bowed string section. The frets on all Chinese lutes are high so that the fingers never touch the actual body—distinctively different from western fretted instruments. This allows for a greater control over timbre and intonation than their western counterparts, but makes chordal playing more difficult.
Plucked string instruments are a subcategory of string instruments that are played by plucking the strings. Plucking is a way of pulling and releasing the string in such a way as to give it an impulse that causes the string to vibrate. Plucking can be done with either a finger or a plectrum.
The pedal harp is a large and technologically modern harp, designed primarily for use in art music. It may be played solo, as part of a chamber ensemble, or in an orchestra. It typically has a range of six and a half octaves, and weighs about 36 kilograms (80 lb). The pedal harp is about 1.85 metres high, has a depth of 1 metre, and is 55 centimetres wide. The notes range from the C♭ three octaves below middle C to three and a half octaves above, usually ending on G♭. Using octave designations, the range is C♭1 to G♭7.
The oval spinet is a type of harpsichord invented in the late 17th century by Bartolomeo Cristofori, the Italian instrument maker who later achieved fame for inventing the piano. The oval spinet was unusual for its shape, the arrangement of its strings, and for its mechanism for changing registration.
The harpsichord was an important keyboard instrument in Europe from the 15th through the 18th centuries, and as revived in the 20th, is widely played today. This article gives a history of the harpsichord; for information on the construction of this instrument, its variant forms, and the music composed for it, see harpsichord.
Americus Backers, sometimes described as the father of the English grand pianoforte style, brought the hammer striking action for keyboard instruments from his master Gottfried Silbermann's workshop in Freiburg to England in the mid-18th century. Unlike the eleven other ex-apprentices of Silbermann who followed him to England and built square pianos with his action, Backers developed Silbermann's action into a reliable, powerful and responsive form that he built into a grand harpsichord case and added two tonal effects – una corda and damper lift – activated by pedals built into the dedicated trestle stand, again his original innovation. This new instrument altered the landscape of English music, causing composers and musicians to consign the plucked string harpsichord and its music to history. It is upon Americus's design that the modern grand pianoforte we know today is based.
The spinettone was a kind of harpsichord invented in the late 17th century by Bartolomeo Cristofori, who was later the inventor of the piano. Other names for this instrument were spinettone da teatro, spinetta traversa.
Ioes Karest was a Flemish harpsichord builder.
Mechanical music technology is the use of any device, mechanism, machine or tool by a musician or composer to make or perform music; to compose, notate, play back or record songs or pieces; or to analyze or edit music. The earliest known applications of technology to music was prehistoric peoples' use of a tool to hand-drill holes in bones to make simple flutes. Ancient Egyptians developed stringed instruments, such as harps, lyres and lutes, which required making thin strings and some type of peg system for adjusting the pitch of the strings. Ancient Egyptians also used wind instruments such as double clarinets and percussion instruments such as cymbals. In Ancient Greece, instruments included the double-reed aulos and the lyre. Numerous instruments are referred to in the Bible, including the horn, pipe, lyre, harp, and bagpipe. During Biblical times, the cornet, flute, horn, organ, pipe, and trumpet were also used. During the Middle Ages, hand-written music notation was developed to write down the notes of religious Plainchant melodies; this notation enabled the Catholic church to disseminate the same chant melodies across its entire empire.
This article's use of external links may not follow Wikipedia's policies or guidelines. (January 2018) (Learn how and when to remove this template message)
|Wikimedia Commons has media related to Harpsichords .|
|Wikiquote has quotations related to: Harpsichord|