Clavicitherium, Virginal and Harpischords
The Virginal
The virginal, is a musical instrument of the harpsichord family, of which it may be the oldest member. The virginal may take its name from Latin virga (“rod”), referring to the jacks, or wooden shafts that rest on the ends of the keys and hold the plucking mechanism. Unlike the harpsichord and spinet, the virginal’s single set of strings runs nearly parallel to the keyboard. By building the instrument with its keyboard at one side or the other of the front of the rectangular case, different tone colours can be obtained because of the change in plucking point of the string.
Italian virginals, often polygonal in shape, differed from the rectangular Flemish and English virginals in having the keyboard centrally placed, thus producing a characteristic mellow tone. Sometimes two virginals were built together, a small one fitting like a drawer into the case of the larger. The smaller played at a higher pitch and could sometimes be mounted over the keys of the larger virginal so that one player could control both. Virginals were particularly popular in 16th- and 17th-century England, where the name was also used generically to mean any harpsichord. The 17th-century Fitzwilliam Virginal Book contains pieces that are characteristic of the English repertory. The cases of virginals were frequently decorated with paintings, inlays, and carvings.New Paragraph
The Clavicitherium
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 harpsichord.
In any harpsichord, the strings are plucked by small plectra, held by jacks, which are thin strips of wood. In a standard harpsichord, the strings are placed horizontally and the jacks are vertical. Thus to make the jack return to position (after it has been lifted by a key to pluck) is a simple matter of gravity; with proper adjustment the jack will simply fall back into its rest position
A clavicytherium sacrifices this simplicity and must find some other means to make the jacks return. In some instruments, this is accomplished with a spring. Another possibility is to couple the jack mechanically to other portions of the action (e.g. keys, levers) that do return by gravity, pulling the jacks back with them.[2] Inevitably, neither strategy is as simple as the direct vertical drop of the jacks in a standard harpsichord.
Indeed, finding a good design for a clavicytherium action is not easy, and builders repeatedly sought better solutions.
A special property of clavicytheria is that the player is seated directly in front of the soundboard, at close range.
In shape, clavicytheria were normally like ordinary harpsichords, with the left side longer than the right to accommodate the long bass strings.
Occasionally, symmetrical clavicytheria were made, with two bentsides and the peak in the middle; this is sometimes called a "pyramid" shape. The pyramidal design was a challenge to builders.
The Harpsichord
Often refered to as the Mother of the modenr Piano, the harpsichord usually has two or more sets of strings, each of which produces different tone qualities. One set may sound an octave higher than the others and is called a 4-foot register, whereas a set of strings at normal pitch is called an 8-foot register. In some 20th-century harpsichords, a 16-foot register, sounding an octave lower, is added, but this addition was extremely rare in old harpsichords. Two sets of 8-foot strings may produce distinct tone quality because they are plucked at different points or with plectra of different material.
The tone of the harpsichord is amplified by a soundboard placed beneath the horizontal plane of the strings, which pass over a bridge that is glued to the soundboard and that transmits their vibration to it. The plucking mechanism consists of sets of jacks, thin vertical strips of wood that rest on the far ends of the keys and pass through a lower fixed guide and an upper slide, or movable guide; the slide moves a given set of jacks either slightly toward or slightly away from its set of strings, depending on whether that set is to be used or unused. A pivoted tongue at the top of each jack is pierced in its upper half to take a plectrum of quill or leather and is held upright by a spring of wire or bristle. A cloth or felt damper completes the jack; this quiets the string when the key is released and the plectrum falls beneath the string.
The earliest surviving harpsichords were built in Italy in the early 16th century. Little is known of the early history of the harpsichord, but, during the 16th–18th century, it underwent considerable evolution and became one of the most important European instruments. National schools of construction arose, notably in Italy, Flanders, France, England, and Germany; and highly decorated cases with painted lids became fashionable. Most of the great Baroque composers played or wrote for the harpsichord. By the middle of the 18th century the harpsichord had grown to a normal compass of five full octaves, three or more sets of strings and jacks, and often two keyboards. At this time it began to compete with the new pianoforte, which was capable of playing soft or loud according to the fingers’ pressure on the keys. The harpsichord is incapable of this dynamic gradation and was overwhelmed in popularity by the piano. The harpsichord was revived in the late 19th century, and it continues to evolve—but not necessarily to improve—in the hands of modern builders and composers.