In the clavichord, each key drove a metal tangent against a string and was held there as was the bridge of the monochord. The tone was dependent on the place where the tangent struck. The string vibrated on one side of the tangent, but the other part of the string was deadened by a strip of cloth. The strings were about the same length and often two or three keys operated the same string so that it was possible to make a very small instrument. In the 16th century, it usually had twenty keys; in the 18th century, four octaves or fifty keys, but of course there were less than fifty strings! Later, every key had its own string and these were called _bundfrei_ or unfretted clavichords, while the others were called _gebunden_ or fretted. The clavichord was usually small enough to carry under the arm, although sometimes it was made with legs. Should you be in New York you must see the collection of beautifully ornamented clavichords and harpsichords at the Metropolitan Museum of Art in the Crosby Brown Collection. Bach liked the clavichord better than the harpsichord and the early pianos that blossomed in his day. Because of the pressure of the tangent, it was possible to get a delicately graded tone when the key was pressed, a wavy, rocking, pulsating effect, which made each player’s performance very individual, but to us, now, it sounds thin and metallic. The word “clavichord” comes from _clavis_—a key, and _chord_—a string. Clavichords and also virginals were often played in pairs, no doubt for richer effect and for volume. Large instruments developed slowly because before the 11th century, wire-drawing (making) was not known, so all keyed string instruments were strung with gut. HARPSICHORD 128TH SONNET SHAKESPEARE AND THE HARPSICHORD How oft when thou, my music, music play’st Upon that blessed wood, whose motion sounds With thy sweet fingers when thou gently sway’st The wiry concord that my ear confounds, Do I envy those _jacks_ that nimble leap To kiss the tender inward of thy hand: Whilst my poor lips, which should that harvest reap, At the wood’s boldness, by thee blushing stand! To be so tickled they would change their state And situation with those dancing chips, O’er whom thy fingers walk with gentle gate, Making dead wood more blessed than living lips. Since saucy _jacks_ so happy are in this Give them thy fingers, me thy lips to kiss. The harpsichord, we like to call the “Jack and Quill” instrument—for it is played by keys, jacks and quills which pluck its strings, instead of pressing or hammering. This is like a keyboarded zither, and is shaped something like our grand piano.