See also:

• CLAVICHORD, or CLARICHORD (Fr. manicorde; Ger. Clavichord; Ital. manicordo; Span. manicordio1)

CLAVICHORD, or CLARICHORD (Fr. manicorde; Ger. Clavichord; Ital. manicordo; Span. manicordio1)  , a See also:

• MEDIEVAL

medieval stringed See also:

• KEYBOARD, or MANUAL (Fr. clavier; Ger. Klaviatur; Ital. tastatura)

keyboard See also:

• INSTRUMENT (Lat. instrumentum, from insincere, to build up, furnish, arrange, prepare)

instrument, a forerunner of the See also:

• PIANOFORTE (Ital. piano, soft, and forte, loud)

pianoforte (q.v.), its strings being set in vibration by a See also:

• BLOW, JOHN (1648-1708)

blow from a See also:

• BRASS
• BRASS (O. Eng. braes)

brass tangent instead of a See also:

• HAMMER, FRIEDRICH JULIUS (1810-1862)

hammer as in the See also:

• MODERN

modern instrument . The See also:

• CLAVICHORD, or CLARICHORD (Fr. manicorde; Ger. Clavichord; Ital. manicordo; Span. manicordio1)

clavichord, derived from the See also:

• DULCIMER (Fr. tympanon; Ger. Hackbrett, Cymbal; Ital. cembalo, timpanon or salterio tedesco)

dulcimer by the addition of a keyboard, consisted of a rectangular See also:

• CASE
• CASE, JOHN (d. 1600)

case, with or without legs, often very elaborately ornamented with paintings and See also:

• GILDING

gilding . The earliest See also:

• INSTRUMENTS

instruments were small and portable, being placed upon a table or stand . The strings, of finely See also:

• DRAWN

drawn brass, See also:

• STEEL, FLORA ANNIE (1847– )

steel or See also:

• IRON [symbol Fe, atomic weight 55.85 (0=16)]

iron See also:

• WIRE (A.S. wir, a wire; cf. Swed. vire, to twist, M.H.G. wiere, a gold ornament, Lat. viriae, armlets, ultimately from the root wi, to twist, bind)

wire, were stretched almost parallel with the keyboard over the narrow belly or soundboard resting on the soundboard See also:

• BRIDGES
• BRIDGES, ROBERT (1844– )

bridges, often three in number, and See also:

• WOUND (O. Eng. wund,connected with a Teutonic verb, meaning to strive, fight, suffer, seen in O. Eng. winnan, whence Eng. " win ")

wound as in the piano See also:

• ROUND (O. Fr. rond, Lat. rotundus, the Fr. is the source also of Du. rond; Ger., Swed., Dan. and Nor. rond)

round wrest or tuning pins set in a See also:

• BLOCK
• BLOCK (from the Fr. bloc, and possibly connected with an Old Ger. Block, obstruction, cf. " baulk ")
• BLOCK, MAURICE (1816–19or)

block at the right-See also:

• HAND
• HAND (a word common to Teutonic languages; cf. Ger. Hand, Goth. handus)
• HAND, FERDINAND GOTTHELF (1786-185r)

hand See also:

• SIDE
• SIDE (mod. Eski Adalia)

side of the See also:

• SOUND
• SOUND, THE (Danish Oresund)

sound-See also:

• BOARD (O. Eng. bord)

board and attached at the other end to hitch pins . The bridges served to See also:

• DIRECT

direct the course of the strings and to conduct the sound waves to the soundboard . The scaling, or See also:

• DIVISION (from Lat. dividere, to break up into parts, separate)

division of the strings determining their vibrating length, was effected by the position of the tangents . These tangents, small See also:

• WEDGE (O. Eng. wecg, a mass of metal, cognate with Dutch wig, wigge, Dan. vaegge, &c.; in Lith. the cognate form outside Teut. is found in wagis, a peg, spigot; there is no connexion with " weigh," " weight," which must be referred to the root wegh, to li

wedge-shaped See also:

• BLADES, WILLIAM (1824-1890)

blades of brass, beaten out at the See also:

• TOP (cf. Dan. top, Ger. Topf, also meaning pot)

top, were inserted in the end of the See also:

• ARM (a common Teutonic word; the Indo-European root is ar, to join or fit; cf. the Lat. armus, shoulder, and the plural word arma, weapons, Gr. apphs, joint, and the reduplicated apapilKSV, to join)

arm of the keys . As the latter were depressed by the fingers the tangents See also:

• ROSE
• ROSE (Rosa)
• ROSE, GEORGE (1744-1818)
• ROSE, HUGH JAMES (1795—1838)
• ROSE, WILLIAM STEWART (1775-1843)

rose to strike the strings and stop them at the proper length from the belly-See also:

• BRIDGE

bridge . Thus the See also:

• STRING

string was set in vibration between the point of impact and the belly-bridge just as See also:

• LONG, GEORGE (1800-1879)
• LONG, JOHN DAVIS (1838– )

long as the See also:

• KEY
• KEY (in O. Eng. tang; the ultimate origin of the word is unknown; it appears only in Old Frisian kei of other Teutonic languages; until the end of the 17th century the pronunciation was kay, as in other words in O. Eng. ending in aeg; cf. daeg, day; clang
• KEY (the phraseograms being indicated by hyphens)
• KEY, SIR ASTLEY COOPER (1821-1888)
• KEY, THOMAS HEWITT (1799-1875)

key was pressed down . The key being released, the vibrations were instantly stopped by a See also:

• LIST (O.E. lisle, a Teutonic word, cf. Dut. lust, Ger. Leiste, adapted in Ital. lista and Fr. lisle)
• LIST, FRIEDRICH (1789-1846)

list of See also:

• CLOTH

cloth acting as damper and interwoven among the strings behind the See also:

• LINE

line of the tangents . There were two kinds of clavichords—the fretted or gebunden and the See also:

• FRET

fret-See also:

• FREE

free or bund-frei . The See also:

• TERM

term " fretted " was applied to those clavichords which, instead of being provided with a string or set of strings in unison for each See also:

• NOTE
• NOTE (Lat. nota, mark, sign, from noscere, to know)

note, had one set of strings acting for three or four notes, the arms of the keys being See also:

• TWISTED

twisted in See also:

• ORDER
• ORDER (through Fr. ordre, for earlier ordene, from Lat. ordo, ordinis, rank, service, arrangement; the ultimate source is generally taken to be the root seen in Lat. oriri, rise, arise, begin; cf. " origin ")
• ORDER, HOLY

order to bring the contact of the tangent into the acoustically correct position under the string .

The " fret-free " were chromatically-scaled instruments . The first bund-frei clavichord is attributed to See also:

• DANIEL
• DANIEL (DANIL)
• DANIEL, BOOK
• DANIEL, GABRIEL (1649-1728)

Daniel See also:

• FABER
• FABER (or LEFEVRE), JOHANN (1478-1541)
• FABER, BASIL (1520-c. 1576)
• FABER, FABRI
• FABER, FREDERICK WILLIAM (1814-1863)

Faber of See also:

• CRAILSHEIM, or KRAILSHEIM

Crailsheim in See also:

• SAXONY
• SAXONY (Ger. Provinz Sachsen)

Saxony about 1720 . This important See also:

• CHANGE (derived through the Fr. from the Late Lat. cambium, cambiare, to barter; the ultimate derivation is probably from the root which appears in the Gr. «a urmu', to bend)

change in construction increased the See also:

• SIZE

size of the instrument, each pair of unison strings requiring a key and tangent of its own, and led to the introduction of the See also:

• SYSTEM

system of tuning by equal temperament upheld by J . S . See also:

• BACH, JOHANN SEBASTIAN (1685–1750)
• BACH, KARL PHILIPP EMANUEL (1714-1788)

Bach . Clavichords were made with pedals.2 The See also:

• TONE, THEOBALD WOLFE (1763-1798)

tone of the clavichord, extremely sweet and delicate, was characterized by a tremulous hesitancy, which formed its See also:

• GREAT

great See also:

• CHARM (through the Fr. from the Lat. carmen, a song)

charm while rendering it suitable only for the private See also:

• MUSIC

music See also:

• ROOM

room or study . Between 1883 and 1893 renewed See also:

• ATTENTION (from Lat. ad-tendo, await, expect; the condition of being " stretched " or " tense ")

attention was drawn to the instrument by A . J . Hipkins's lectures and recitals on keyboard instruments in See also:

• LONDON

London, See also:

• OXFORD
• OXFORD, EARLS OF
• OXFORD, EDWARD DE VERE, 17TH EARL
• OXFORD, JOHN DE VERE, 13TH EARL OF (1443-1513)
• OXFORD, PROVISIONS OF
• OXFORD, ROBERT DE VERE, 9TH EARL OF (1362-1392)
• OXFORD, ROBERT HARLEY, 1ST

Oxford and See also:

• CAM (CAO), DIOGO (fl. 1480-1486)

Cam-bridge; and See also:

• ARNOLD
• ARNOLD, BENEDICT (1741-1801)
• ARNOLD, GOTTFRIED (1666-1714)
• ARNOLD, MATTHEW (1822-1888)
• ARNOLD, SAMUEL (1740--18o2)
• ARNOLD, SIR EDWIN (1832-1904)
• ARNOLD, THOMAS (1745-1842)

Arnold Dolmetsch reintroduced the See also:

• ART

art of making clavichords in 1894 . (K .