Clavichord in a sentence

Pedal clavichord J. Verscheure Reynvaan: engraving of an eighteenth-century pedal clavichord main While clavichords were typically single manual instruments, they could be stacked, one clavichord on top of another, to provide multiple keyboards.

The English composer Herbert Howells (1892–1983) wrote two significant collections of pieces for clavichord (Lambert's Clavichord & Howells' Clavichord).

Detail of the Clavichord at Museu de la Música de Barcelona In the clavichord, strings run transversely from the hitchpin rail at the left-hand end to tuning pegs on the right.

Additionally, the clavichord is not designed for projecting its sound for an entire concert hall like the harpsichord.

Among recent clavichord recordings, those by Christopher Hogwood (The Secret Bach, The Secret Handel, and The Secret Mozart), break new ground.

Because of this intimate contact between the player's hand and the production of sound, the clavichord has been referred to as the most intimate of keyboard instruments.

Fretting Large five-octave unfretted clavichord by Paul Maurici, after J.A. Hass Since the string vibrates from the bridge only as far as the tangent, multiple keys with multiple tangents can be assigned to the same string.

He strictly forbade him to meddle with any musical instrument but Handel found means to get a little clavichord privately convey'd to a room at the top of the house.

In 1976 Oscar Peterson played (with Joe Pass on acoustic guitar) songs from Porgy And Bess on the clavichord.

In a clavichord, the strings are struck by tangents, while in a harpsichord, they are mechanically plucked by quills when the performer depresses the key.

Isacoff (2012, 23) While the clavichord allowed expressive control of volume and sustain, it was too quiet for large performances.

Most often, the addition of a pedal keyboard only involved connecting the keys of the pedalboard to the lower notes on the manual clavichord using string so the lower notes on the manual instrument could be operated by the feet.

Other names refer to the monochord -like nature of a fully fretted clavichord (It. monacordo or monocordo; Sp. monacordio).

Particularly in the 18th century, the harpsichord, the clavichord, and the early piano were in competition, and the same piece might be played on more than one.

Piano technique evolved during the transition from harpsichord and clavichord to fortepiano playing, and continued through the development of the modern piano.

Pollens (1995, Ch.1) By the 17th century, the mechanisms of keyboard instruments such as the clavichord and the harpsichord were well developed.

The action of the clavichord is unique among all keyboard instruments in that one part of the action simultaneously initiates the sound vibration while at the same time defining the endpoint of the vibrating string, and thus its pitch.

The first known reference to one was by Johann Speth in 1693 and the earliest such extant signed and dated clavichord was built in 1716 by Johann Michael Heinitz.

The introduction to this book contains far more detailed and accurate diagrams, labeled by the technical names of the different parts of the clavichord.

The keyboard writing seems unsuited to organ, but Speerstra argues that they are idiomatic on the pedal clavichord.