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harpsichord

American  
[hahrp-si-kawrd] / ˈhɑrp sɪˌkɔrd /

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 British  
/ 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

"Collins English Dictionary — Complete & Unabridged" 2012 Digital Edition © William Collins Sons & Co. Ltd. 1979, 1986 © HarperCollins Publishers 1998, 2000, 2003, 2005, 2006, 2007, 2009, 2012

harpsichord Cultural  
  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.


Other Word Forms

  • harpsichordist noun

Etymology

Origin of harpsichord

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

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Example Sentences

Examples are provided to illustrate real-world usage of words in context. Any opinions expressed do not reflect the views of Dictionary.com.

“Pulsing Lifters,” in an arrangement for two pianos and harpsichord, is like a delicate dew.

From Los Angeles Times

Wilson regarded it as one of his best, and with its striking instrumental palette of harpsichord and flutes, it’s easy to agree.

From Los Angeles Times

So there’s violins, there’s harpsichord, there’s harps — there’s a lot in the arrangements that make it feel older or classic or something.

From Los Angeles Times

Its wildly combustible songs were the perfect material for Jules Buckley’s orchestra, who ramped up the album's gothic overtones with harpsichords, lutes and long crescendos of percussion.

From BBC

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

From Seattle Times