Hm, if only the Porsche 924 had been available around 1688, Couperin could have easily adapted his arrangements.
(Ok, sorry, couldn’t resist 
)
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Hi!
OK, so please excuse my ignorance, but are we discussing the wavelength of a given frequency vibrating in the air under or in the wood of the soundboard itself? Assuming that either aids and abets the other… The air opening between the case and keywell of a French H might influence this.
If the width or depth of the other two of the perhaps three dimensions of a given wave (length) create a hypothetical section, might I suggest that the longest available ‘section’ of air -or wood- might be found in the diagonal measured from bass tip to treble soundboard / belly rail junction?
On my little short octave Italian the ratio is 140/160 cm. 7/8 . Presumably a wee bit more on a wider model.
If this is totally unreasonable, please accept my resignation forthwith, etc.
Thomas Murach
04870 St Michel l’Observatoire
(33) 04 92 76 60 81
I do not understand your logic, Dennis.
What are you trying to prove?
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That I did not play hundreds of Baroque continuo scores in the 1970-80s? I can send you scans of recital programmes.
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That you believe my knowledge about harpsichord matters is all wrong (and therefore also the knowledge of great scholars that have praised it)? Well this is obvious, isn’t it?
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That my short-harpsichord proposal is useless because it does not go below C?
I have two observations in this respect:
a) I acknowledged your point that some Baroque pieces (I estimate about 1%) require notes below C.
However, I agreed to the point to modify accordingly my design!
b) Please reread my proposal: it is not an argument about range, not at all. It is meant as an alternative to all those harpsichords that are being carried around for continuo use, with range from C upwards but unnecessarily (acoustically) long and cumbersome.
By the way, and sorry to say, I am done with your insistence of finding me wrong at all costs.
Thanks Thomas. Actually, I am measuring parallel to the spine, because the orientation of the soundboard grain is important as well. In this respect, and I believe is implicit in what I wrote, what is most significant is not the measurement, but the auditory effect of the lowest note that produces a pleasing sound. The rest is obtained by simple proportions.
As a moderator of the list I must ask all to please calm down, there is no need to heat the discussion.
Back to Claudio’s proposal.
From the sketch you sent, I see the 8’ bridge very near or maybe overlapping the 4’ hitchpin rail. I guess this would be detrimental to the tone, isn’t it. Shouldn’t the 4’ rail be moved on the left, and shouldn’t the 4’ bridge be moved as well? Or, better, shouldn’t the 4’ strings shortened as well in order not to overlap 8’ bridge withe the 4’ hitchpin rail (also known as boudin, so it does have a tonal function).
Although I have seen similar designs in small instruments by some makers, you are correct Domenico.
I am not a maker, and I am not looking for such an instrument for myself. My basic design is just meant to show that all these ubiquitous continuo harpsichords from C upwards are mostly unnecessarily long. I have not worked out fine details (not just 4’ hitchpin rail and bridge position, also the possible need for a few covered strings in the extreme bass of the 8’).
I love the Royal College of Music 175 anonymous but attributed to Guarracino, there are other “twins” in Milan and in private collections. I owned a copy (made by Augusto Bonza) and I even made a copy of it. It is about 185 cm long.
Originally It had a short octave C/E-c but was altered to have a chromatic octave from C without C#. And originally it was 1x8’ but the rebuilder added a second 8’.
(the two copies I used to be acquainted to were both in the original form)
And it has, even in the altered state, a beautiful and powerful tone (more powerful in the 1X8 version) and makes for a great continuo harpsichord. The tone is good from the very first note, but then it is longer than Claudio’s idea, still very small and transportable (needs an outer case, though).
Claudio, is this similar enough to the harpsichord you are thinking?
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Of course, no 4’.
A lenghty discussion of the RCM 175 by Grant O’ Brien who is the author of the drawing. The drawing is sold by Marc Vogel.
http://www.claviantica.com/Publications_files/Guarracino_RCM175_files/Guarracino_RCM175.htm#_ftn2
Sorry for the many postings.
Here are other informations and a short video/audio of the harpsichord: https://museumcollections.rcm.ac.uk/collection/Details/collect/1459
Claudio,
I think there would be a definite need for a few wrapped strings if you shorten the stringing scale by that much. It is pretty clear from the old Z-box (original small straight side Zuckermann) that thick brass strings at low tension sound pretty awful. I don’t think that soundboard resonance has ever been the limiting factor in how short a harpsichord can be made (and sound good), but rather the tone quality of the lowest bass strings themselves.
This is quite clear in piano scaling, and it transfers pretty well to harpsichords, with the additional factor of needing to be activated by a plectrum. With the piano, a heavier hammer can be used for thick strings. With a harpsichord, the plectrum can’t be made too much more robust, or it will be unplayable.
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An excellent point indeed, Fred. Obviously both factors are important. A few further items of food for thought:
- The Guarracino is not significantly longer than my design.
- The Z-box had poor quality bass, but this was mainly from C down.
- As for the quality of the Z-box from C up, well, I once regulated such an instrument and, really, it was such a poor thing …
Well, chitarrone makers have been very cleverly building a hinge in the long neck to facilitate transport.
Perhaps someone can invent a hinge-tailed harpsichord…
Actually it was invented in the 18th century. There are instruments made in France by Marius and identical ones in Italy, plus other models also in Italy.folding harpsichords
I have seen three but was not able to play them. A friend was and said the sound was really awful, which is not surprising because the strings are way too short and the case, well actually “cases”, are too narrow and shallow.