Looking at Two Clavichords: Morley and Dolmetsch 

It certainly is fun! And it is always a challenge to understand each instrument to make the most out of them!

Me too! I have done two versions of it on the channel, one on clavichord ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-_9vxGHOJrF8.html and one on harpsichord ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-fu8RfFn9TxA.html

Hi Federico! In both clavichords the lowest octave has overwound strings, in the Dolmetsch from c' downwards, in the Morley from B downwards. I do not know the metal of the strings. I am very ignorant when it comes to these things, all I know is mostly by observation. The Morley has all the original strings, so you might find the information from the Morley website or by contacting them www.morleypianos.co.uk/harpsichords--clavichords-3-c.asp The Dolmetsch has mostly what look like old strings (so likely original), and some replaced ones. I replaced 2 or 3 myself and believe it or not, do not remember what they were. Some of the overwound strings in the Dolmetsch are damaged at the point in which the tangent hits them. Overall, the clavichord could be improved more. This is Dolmetsch's website www.dolmetsch.com/index.htm - as far as I know it is not active, but you may find some information there. If you happen to be in facebook try to drop the question on a couple of groups there: 1- facebook.com/groups/2245345010/ 2- facebook.com/groups/3015517912047371/ If I find the answer one day, I will let you know!

Hi Jim! I certainly think that the Morley has something to offer! It's different, so I will try 'different' music on it and see what happens. A part from the different sound and touch, I think the Dolmetsch's sound projection makes it suitable to be played for a small audience, whereas the Morley remains a friend for the intimacy, or maybe one player and one listener. The Morley is number 612, 1963-64. I did call the shop a year ago and they told me the exact date, but I forgot. Also the original pitch would have been a'=440. It's probably gone down with time and lack of use. I wonder if bringing more tension to the strings by gradually raising the pitch would increase the volume of sound as well.. hmmm.. possible..

@@theclavierist Hi Yuri. Yes, raising the pitch might increase the tone slightly. I know that harpsichord wire sounds best when it is close to breaking point but I don't think this applies to clavichords. I suspect it will always be an intimate sounding instrument but that is always what the clavichord was. On another note - I have put an extra layer of felt under the music desk to help dampen the lower strings. They would leave an extra full string note after you released the key. It did help a bit but didn't fix the issue. How is the flute - brave chap......

Hey Jim! Thanks about the confirmation on the pitch thing. I don't need more volume from it, so I will just maintain it as it is. The flute is a very slow progress.. the advantage compared to ten years ago is that now there are loads of reliable tutorials online. I still remember some things from the lessons I had in India, so it's a matter of time and perseverance. Do you mean brave because of the flute? or the water?... the water is habit, it get's easier to be in there by the day.. the progress there is faster than in the flute playing..

@@theclavierist I initially meant the flute. Not easy to make a good sound. I had forgotten about the water in a haze of on line piano lessons. I saw someone in the sea a few days ago .....looked cold.

The touch is different by miles! Two different worlds! When I first touched a clavichord I instinctively tried that right/left movement you mention here and nothing was happening.. then I tried it with added 'hand shaking' and still nothing.. then I realised that the only way to produce an alteration in the pitch of the note was to stretch the string more, hence to do the up/down, also because the keys don't have any movement sideways. I need to apologise for the violence I committed against the Morley here! What I did in this video cannot be called a Bebung, hence my little note to say 'UAUA', something that would please much more Herbie Hancock than any true clavichord lover. I need to practice the Bebung properly. I think a proper Bebung should do small fluctuations in pitch once the note has sounded and not these awful twang that you heard here! 🙃

Just a follow up on the touch.. To give you an idea, on the Morley as soon you press the key you are the bottom and the bottom is rather 'bouncy' or 'elastic'. With the Dolmetsch one travels much more downwards and the bottom is not so 'bouncy', hence the need for more control. I find that with the Dolmetsch the more I keep my finger tips relaxed on the keys (in contact) and activate the finger from the knuckle, maintaining the hand relaxed, the better control I get.

@@theclavierist thanks for the follow-up!

I think there is a certain affinity between the electric guitar and old klaviers. After all, 'klavier' (or clavier) music did derive from lute music! I can't say that I like the sound of those 'Harpsipianos' or even revival harpsichords, but certain performances from that time are great! I have a vinyl of Rafael Puyana and take my hat off for his Fandango by Soler!

@@theclavierist Oh I love the Fandango! there's a record somewhere in my collection by somebody i forgotten now (i am old!) with a highly energetic version, the sound is magnificent! (mid 70s recording) ...LOL!

@@OscarRuiz-gj3mp I was dancing to that Fandango last time I listened to it!!

@@theclavierist Yo! your enjoyment of the Fandango induced me to go spelunking thru my vinyl collection till I found the record i told ya...its called ''Battle Imperial'' with Jonathan Woods performing on a 1964 Rutkowski and Robinette with 16' register(!!) ,That instrument got ALL the bell and whistles...and sounds magnificent, not muddy at all....the batalla imperial by Cabanilles is sooo good!...but la creme de resistance is the last cut on side 'b' the Soler Fandango...the recording is a Pavane Production for London Records. 1976 - I suggest you hunt it down but if you can't, get in touch w/moi and I might be able to gift it to ya.

@@OscarRuiz-gj3mp I have found a digital version of it in the amazing 'Harpsichord Vinyl Gallery', one of my favorite youtube channels! Check it out! Lots of things you might like there. Now I will take the time to listen to it properly. The 16' foot certainly adds to the special effects for the 'Batalla' :-) . In any case, thank you so much for the generous offer of gifting the record to me in case it was not available anywhere! Extremely kind of you, thank you!

Very interesting! I wonder if the 1/4 comma meantone (even if a little off..) makes a difference for those harmonies on the Morley. It certainly has its character in any case.

@@theclavierist it would if these were more polyphonic chords, but for me it is this darker, yet with cristalline overtones timber 😀

@@RosssRoyce yes, I agree, it does have that

Hi Erick! Thanks for the comment! The Morley certainly has its own intimate characteristic sound. The Dolmetsch is smaller than the concert clavichords you may have in mind, in fact it's the same size as the Morley, 4 octaves, but it does produce an incredible amount of sound for its size!