harpsichord

[ hahrp-si-kawrd ]

noun

1. a keyboard instrument, precursor of the piano, in which the strings are plucked by leather or quill points connected with the keys, in common use from the 16th to the 18th century, and revived in the 20th.

harpsichord

/ ˈhɑːpsɪˌkɔːd /

noun

1. a horizontally strung stringed keyboard instrument, triangular in shape, consisting usually of two manuals controlling various sets of strings plucked by pivoted plectrums mounted on jacks. Some harpsichords have a pedal keyboard and stops by which the tone colour may be varied

harpsichord

1. A stringed keyboard instrument much used in the baroque era in music. The keys of a harpsichord move small devices that pluck the strings; the strings are not struck with hammers, as in a piano . Thus, although harpsichords often look much like pianos, their characteristic tinkly sound is unlike that of the piano, and a harpsichordist cannot change the volume of the sound by striking the keys harder, as a pianist can.

Derived Forms

• ˈharpsiˌchordist, noun

Other Words From

• harpsi·chordist noun

Word History and Origins

Origin of harpsichord¹

First recorded in 1605–15, harpsichord is from the New Latin word harpichordium (with intrusive -s- of obscure origin). See harp, -i-, chord ¹

Word History and Origins

Origin of harpsichord¹

C17: from New Latin harpichordium, from Late Latin harpa harp + Latin chorda chord ¹

Example Sentences

Girl With One Eye, in which Florence plucks out a love rival's eyeball, was punctuated by blasts of tuba and a twinkling harpsichord - accentuating the dark comedy of the lyric with a musical nod to the Addams Family theme.

From BBC

It’s a slow march paced by a loping bass line, gradually enfolding her solitary voice with harpsichord, flutes and a children’s choir as Gibbons finds a kind of peace with the realization, “All we have is here and now.”

From New York Times

His probing interpretations bring a fresh perspective to the vast early music harpsichord repertoire.

From Seattle Times

But a substantial part of his work is committed to collaborating with such contemporary composers as Anahita Abbasi, whose music for harpsichord and electronics shares the program with J.S.

From Seattle Times

In 1986, he left the group to concentrate on solo and chamber music, with an emphasis on the harpsichord and the fortepiano, a softer-sounding predecessor of the modern grand piano.

From New York Times