Summary

Cynthia A. Hoover Harpsichords and Clavichords

Instrument builders, seeking to satisfy the demands created by the change in sensibility and musical taste, turned naturally to the domestic instruments they knew best—the harpsichord and clavichord—as the process of adaptation began. For this reason, as the pianoforte was developed and perfected, the general proportions and arrangement of the grand piano resembled those of the harpsichord. Similarly, the relation between the keyboard and strings, the scaling, and other features of the square piano resembled those of the clavichord.
Source: Gutenberg

Cynthia A. Hoover Harpsichords and Clavichords

By the beginning of the 18th century the desire was strong for a more expressive keyboard instrument to use in ensembles. Harpsichord builders added new stops, devised special leather plectra, and added Venetian swell effects and other innovations to alter the sound of the harpsichord. But no matter what they did, they could not produce enough dynamic gradation to satisfy musical taste. The clavichord was capable of dynamic nuance, but it lacked carrying power.
Source: Gutenberg

Cynthia A. Hoover Harpsichords and Clavichords

The spinet, a member of the harpsichord family, was a popular domestic keyboard instrument in England and America during the 18th century and was mentioned in many American diaries and inventories of that time. The spinet often served as the keyboard instrument for the household that could not afford or did not have room for the harpsichord or organ.
Source: Gutenberg

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