See also:

• DOUBLE
• DOUBLE (from the Mid. Eng. duble, the form which gives the present pronunciation, through the Old Er. duble, from Lat. duplus, twice as much)

DOUBLE VIRGINALS HARPSICON See also:

• DOUBLE VIRGINALS HARPSICON HARPSICHORD (Fr. clavecin; Ger. Clavicymbel, Kiel-Flugel; Ital. arpicordo, cembalo, davicembalo, gravecembalo; Dutch, davisinbal)

HARPSICHORD (Fr. See also:

• CLAVECIN

clavecin; Ger. Clavicymbel, See also:

• KIEL

Kiel-See also:

• FLUGEL, GUSTAV LEBERECHT (1802-1870)
• FLUGEL, JOHANN GOTTFRIED (1788-1855)

Flugel; Ital. arpicordo, cembalo, davicembalo, gravecembalo; Dutch, davisinbal)  , a large 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 (see See also:

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

PIANOFORTE), belonging to the same See also:

• FAMILY

family as the See also:

• VIRGINAL, or PAIR OF VIRGINALS

virginal and See also:

• SPINET, or SPINNET (Fr. espinetle or epinette; Ger. Spinett; Ital. spinetta)

spinet, but having 2, 3, or even 4 strings to each See also:

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

note, and a See also:

• CASE
• CASE, JOHN (d. 1600)

case of the See also:

• HARP (Fr. harpe; Ger. Harfe; Ital. arpa)

harp or wing shape, afterwards adopted for the See also:

• GRAND

grand pianoforte . J . S . See also:

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

Bach's See also:

• HARPSICHORD, HARPSICON, DOUBLE VIRGINALS (Fr. clavecin; Ger. Clavicymbel, Kiel-Flugel; Ital. arpicordo, cembalo, davicembalo, gravecembalo; Dutch, davisinbal)

harpsichord, preserved in the museum of the Hochschule See also:

• FUR (connected with O. Fr. forre, a sheath or case; so " an outer covering ")

fur Musik at See also:

• CHARLOTTENBURG

Charlottenburg, has two manuals and 4 strings to each note, one 16 ft., two 8 ft. and one 4 ft . By means of stops the performer has within his See also:

• POWER [WILLIAM GRATTAN] TYRONE (1797-1841)

power a number of combinations for varying the See also:

• TONE, THEOBALD WOLFE (1763-1798)

tone and dynamic power . In all See also:

• INSTRUMENTS

instruments of the harpsichord family the strings, instead of being struck by tangents as in the See also:

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

clavichord, or by hammers as in the. pianoforte, are plucked by means of a See also:

• QUILL

quill firmly embedded in the centred See also:

• TONGUE (O. Eng. lunge)

tongue of a See also:

• JACK

jack or upright placed on the back end of 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-See also:

• LEVER (through O. Fr. leveour, levere, mod. levier, from Lat. levare, to lift, raise)
• LEVER, CHARLES JAMES (1806-1872)

lever . When the See also:

• FINGER

finger depresses a key, the jack is thrown up, and in passing the See also:

• CROW (Dutch, kraal, Ger. Krdhe, Fr. corbeau, Lat. corvus)

crow-quill catches the See also:

• STRING

string and twangs it . It is this twanging of the string which produces the brilliant incisive tone See also:

• PECULIAR

peculiar to the harpsichord family . What these instruments gain in brilliancy of tone, however, they lose in power of expression and of See also:

• ACCENT

accent . The impossibility of commanding any emphasis necessarily created for the harpsichord an individual technique which influenced the See also:

• MUSIC

music composed for it to so See also:

• GREAT

great an extent that it cannot be adequately rendered upon the pianoforte . The harpsichord assumed a position of great importance during the 16th and 17th centuries, more especially in the See also:

• ORCHESTRA (Fr. Orchestre; Ger. Kapelle, Orchester; Ital. Orchestra)

orchestra, which was under the leadership of the harpsichord player . The most famous of all harpsichord makers, whose names See also:

• FORM (Lat. forma)

form a See also:

• GUARANTEE (sometimes spelt " guarantie " or " guaranty "; an O. Fr. form of " warrant," from the Teutonic word which appears in German as wahren, to defend or make safe and binding)

guarantee for excellence, were the Ruckers, established at See also:

• ANTWERP
• ANTWERP (Fr. Anvers)

Antwerp from the last See also:

• QUARTER (through Fr. from Lat. quartarius, fourth part)

quarter of the 16th See also:

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

century .

(K .