HARMONICHORD  , an ingenious See also:

• KIND (O. E. ge-cynde, from the same root as is seen in " kin," supra)

kind of upright piano, in which the strings were set in vibration not by the See also:

• BLOW, JOHN (1648-1708)

blow of the See also:

• HAMMER, FRIEDRICH JULIUS (1810-1862)

hammer but by indirectly transmitted See also:

• FRICTION (from Lat. fricare, to rub)

friction . The harmonichord, one of the many attempts to fuse piano and See also:

• VIOLIN

violin, was invented by Johann Gottfried and Johann See also:

• FRIEDRICH, JOHANN (1836— )

Friedrich See also:

• KAUFMANN, CONSTANTINE PETROVICH (1818-1882)

Kaufmann (See also:

• FATHER

father and son) in See also:

• SAXONY
• SAXONY (Ger. Provinz Sachsen)

Saxony at the beginning of the 19th See also:

• CENTURY (from Lat. centuria, a division of a hundred men)

century, when the craze for new and ingenious musical See also:

• INSTRUMENTS

instruments was at its height . The See also:

• CASE
• CASE, JOHN (d. 1600)

case was of the variety known as See also:

• GIRAFFE

giraffe . The space under the See also:

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

keyboard was enclosed, a See also:

• KNEE (O. E. cneow, a word common to Indo-European languages, cf. Ger. Knie, Fr. genou, Span. hinojo, Lat. genu, Gr. ybvv, Sansk. janu)

knee-hold being See also:

• LEFT

left in which were two pedals used to set in rotation a large wooden See also:

• CYLINDER (Gr. KvAwSpos, from KvXivaety, to roll)

cylinder fixed just behind the keyboard over the levers, and covered with a See also:

• ROLL (O. Fr. rolle, roulle, mod. role, Lat. rotulus, dim. of rota, wheel)
• ROLL, ALFRED PHILIPPE (1846– )

roll-See also:

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

top similar to those of See also:

• MODERN

modern See also:

• OFFICE (from Lat. officium, " duty," " service," a shortened form of opifacium, from facere, " to do," and either the stem of opes, " wealth," " aid," or opus, " work ")

office desks . The cylinder (in some specimens covered with See also:

• CHAMOIS

chamois See also:

• LEATHER (a word which appears in all Teutonic languages; cf. Ger. Leder, Dutch leer or leder, Swed. leder, and in such Celtic forms as Welsh llader)
• LEATHER, ARTIFICIAL

leather) tapered towards the See also:

• TREBLE (a doublet of " triple," three-fold, from Lat. triplus, triple; cf. " double " from duplus)

treble-end . When a 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 depressed, a little See also:

• TONGUE (O. Eng. lunge)

tongue of See also:

• WOOD, ANTHONY A2 (1632-1695)
• WOOD, JOHN GEORGE (1827—1889)
• WOOD, MRS HENRY [ELLEN] (1814—1887)
• WOOD, SEARLES VALENTINE (1798—188o)

wood, one end of which stopped the See also:

• STRING

string, was pressed against the revolving cylinder, and the vibrations produced by friction were transmitted to the string and reinforced as in piano and violin by the soundboard . The See also:

• ADJUSTMENT (from late Lat. ad juxtare, derived from juxta, near, but early confounded with a supposed derivation from justus, right)

adjustment of the parts and the velocity of the cylinder required delicacy and See also:

• GREAT

great nicety, for if the little wooden See also:

• TONGUES, GIFT OF, or GLOSSOLALIA (yXwova, tongue, aXeiv, speak)

tongues rested too lightly upon the cylinder or the strings, harmonics were produced, and the See also:

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

note jumped to the See also:

• OCTAVE (from Lat. octavus, eighth, octo, eight)

octave or twelfth . Some-times when chords were played the See also:

• TOUCH (derived through Fr. toucher from a common Teutonic and Indo-Germanic root, cf. " tug," " tuck," O. H. Ger. zucchen, to twitch or draw)

touch became so heavy that two performers were required, as in the See also:

• EARLY
• EARLY, JUBAL ANDERSON (1816-1894)

early See also:

• MEDIEVAL

medieval See also:

• ORGANISTRUM

organistrum, the prototype of the harmonichord . Carl Maria von See also:

• WEBER, CARL MARIA FRIEDRICH ERNEST VON (1786–1826)
• WEBER, WILHELM EDUARD (1804-1891)

Weber must have had some See also:

• OPINION (Lat. opinio, from opinari, to think)

opinion of the possibilities of the harmonichord, which in See also:

• TONE, THEOBALD WOLFE (1763-1798)

tone resembled the See also:

• GLASS
• GLASS (O.E. glees, cf. Ger. Glas, perhaps derived from an old Teutonic root gla-, a variant of glo-, having the general sense of shining, cf. " glare," " glow ")
• GLASS, STAINED

glass See also:

• HARMONICA

harmonica, since he composed for it a See also:

• CONCERTO (Lat. concertus, from certare, to strive, also con-fused with concentus)

concerto with orchestral See also:

• ACCOMPANIMENT (i.e. that which " accompanies ")

accompaniment . (K .