Stringed keyboard instruments at nominal octave pitch

Abstract

The twentieth-century revival of interest in historic stringed keyboard instruments has generally focused on the large, elaborately decorated, instruments – predominantly harpsichords. Other historic keyboard instruments have not received the same level of organological research, particularly those which are small, often-anonymous, high-pitch and modestly decorated.

From the mid-fourteenth century to the end of the eighteenth century stringed keyboard instruments of various types were made and importantly at a range of pitches. One of the pitch levels to be identified in this period is ‘octave pitch’. Instruments at this pitch level sound one octave higher than other contemporary or later instruments. Today these instruments would sound at approximately a=880Hz rather than a=440Hz.

The evidence for the earliest identified stringed keyboard instrument, the eschaquier, will be re-evaluated and a hypothetical reconstruction of the instrument presented along with a suggestion of its likely pitch level. Fifteenth century depictions of stringed keyboard instrument will be analysed and suggestions made regarding their likely original pitch level and the prevalence of octave pitch. From the early sixteenth century through to the mid-seventeenth century large numbers of stringed keyboard instruments survive from across Europe, including many at octave pitch. The types of surviving octave-pitch stringed keyboard instrument from the different regions of Europe will be described and analysed and compared with larger lower-pitch stringed keyboard instruments. Instruments from the Italian states will be analysed in detail as there are large numbers of surviving octave pitch instruments from this area. The Flemish and Germanic traditions will also be analysed in detail as secondary octave-pitch levels appear to have existed in these regions. These secondary octave-pitch levels require a new pitch level terminology and this will be presented.

The stringing of surviving instruments will be analysed, in relation to Pythagorean mathematical principles, as will their unique timbral, acoustic and pitch features. Based on this material the author will present the hypothesis that all stringed keyboard instruments originated in an octave-pitch design. The popularity and use of these instruments will also be discussed with reference to historical inventories, treatises and contemporary paintings. Finally, the pitch level became associated with small novelty instruments which will be discussed.

The reasons for the decline of octave pitch in the seventeenth century will be discussed as will the second wave of octave-pitch instruments in the eighteenth century. Throughout these five centuries of keyboard history it is clear that musicians invariably had access to a rich variety of types and pitch levels of keyboard instrument, particularly those at octave pitch.