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In Search of the Chekker

Progenitor of the String Keyboard Instrument

By H.L. Aleyn Wykington

Apprentice to Master Stephen of Hunmanby OL

For Tir Righ Arts and Science Championship. October A.S. 46

In Search of the Chekker Wykington 1

Table of ContentsTable of Illustrations..................................................................................................................................3Introduction................................................................................................................................................4Historical Context......................................................................................................................................5The Theories...............................................................................................................................................7

Organistrum...........................................................................................................................................7Al-shaquira............................................................................................................................................8Upright Harpsichord..............................................................................................................................8Clavichord.............................................................................................................................................9Dolce Melos........................................................................................................................................10Shape Theory.......................................................................................................................................10

Evidence for a Plausible Reconstruction..................................................................................................12Case:....................................................................................................................................................12

Rectangular Case:..........................................................................................................................12 Triangular Case..............................................................................................................................13 Square Case:..................................................................................................................................13

Action..................................................................................................................................................14 Hammering....................................................................................................................................14 Plucking – Horizontal....................................................................................................................14 Plucking – Vertical.........................................................................................................................15 Tangent...........................................................................................................................................15

Strings..................................................................................................................................................15Range...................................................................................................................................................16

The Design to be Built.............................................................................................................................18Case.....................................................................................................................................................18Action..................................................................................................................................................19Strings..................................................................................................................................................20Range...................................................................................................................................................21

Conclusion...............................................................................................................................................22Bibliography.............................................................................................................................................23


Table of Illustrations1: Monochord after Zabern........................................................................................................................72: Horizontal Harpsichord Jack..................................................................................................................83: Vertical Harpsichord Jack......................................................................................................................94: Arnault Clavichord, Biblioteque Nationale, MS lat. 7295, fol. 129. from Ripin...................................95: Boethius', New Math vs the Exchequor Table - 1503 by gregor reisch...............................................106:Exchequer Chessboard, Paris, Bibliotheque Nationale, MS.lat. 17487, fol. 228v. From Ripin..........117: Harpsichord & Clavichord, Minden Cathedral....................................................................................168: Adoration of the Magi by Adriaen van Wesel – Rijksmuseum NM 1 1967 .......................................18


Introduction

In 1360 we are confronted with a reference to perhaps the most elusive of all musical instruments. It is known most commonly as the Chekker or Exchequer, with a number of regional variations on names. We have some fifty surviving written references to it spanning a hundred years, before it vanishes from the record. In all this time not a single piece of iconography in any form has been positively identified as the Chekker.

It is the purpose of this presentation to sift through these scattered references for clues as to the identity and construction of this instrument.

The method used will be in the form of a research project, otherwise known as experimental archaeology. To this end, this paper comprises the first part of a holistic project that will first compile data for a plausible reconstruction; then in the second part, the paper's conclusions will be tested with construction of a functional Chekker. As this paper is being presented, the Chekker is in construction and is intended to be be finished for presentation at Kingdom level in March of A.S. 46.


Historical Context

The Chekker first surfaces in direct consequence of the Hundred Years War. After his capture by Edward the Black Prince at Poitiers in 1356, French King John the Good languished for 4 years in England while the Dauphin dragged his feet on payment of John's ransom1. During this time, extensive records were kept for his expenses. Among these is a note describing the payment to an instrument maker named Jehan Perrot “for the instrument called an eschiquier.” 2

The next appearance is in 1367. The instrument appears in a poem commemorating a fete, by Guillluame de Machaut, the most eminent composer of the period. “La Prise d' Alexandrie” (the Capture of Alexandria,) was written in praise of Peter Lusignan, King of Cyprus. It contains a stanza discussing the instruments that were played at this event, including the l'eschaquir d'Engleterre, “the Chekker of England.”3 This is a name that can be inferred to indicate, the Chekker was invented in England. It was likely imported to France by King John the Good during his short return to his homeland.

A fellow prisoner at the court in exile of King John the Good, Philip the Bold speaks of a minstrel playing for Philip in 1376. Then in 1385 Philip purchases a Chekker for his chapel.

We quickly have a number of references to the instrument appearing, ranging from 1360 to 1552 before vanishing into obscurity. Thirty one were compiled by Edwin Ripin in “Towards an identification of the Chekker” in 1975.4 This is the most complete source of references to the Chekker to date. The Chekker appears predominantly in letters, account books, wills and poetry, with the more interesting records tending to be the accounts and letters. Note that the Philip the Bold references above, do not appear in Ripin's catalogue, but were found later.5

The account books are of course discussing payments for a Chekker. In addition account books supply information such as location of purchaser and sometimes who or where it was purchased.

The Account Books6

Date Purchaser Price1360 King John the Good, France 20 Nobles1376 Burgundian Court Six Franks

1 John II." Encyclopædia Britannica. Encyclopædia Britannica Online. Encyclopædia Britannica, 2011. Web. 28 Sep. 2011. <http://www.britannica.com/EBchecked/topic/304699/John-II>.

2 Ripin, Edwin M. "Towards an Identification of the Chekker." Galpin Society Journal. 28.april (1975): 15

3 Ibid: 164 Ibid5 Meeus, Nicolas. "The Chekker." The Organ Yearbook. xvi. (1985): 216 Ripin, “Towards”.

http://www.britannica.com/EBchecked/topic/304699/John-II


Date Purchaser Price1385 Burgundian Court 12 Franks1392 Bishop R Braybrook – Bishop of London,1488 French Court1496 French Court1511 Lorraine Court

We have also several letters regarding the Chekker.7

Date Writer Recipient1379 Prince John I of Aragon Pedro Fernandez1380 Prince John I of Aragon Pedro Fernandez1387 King John I of Aragon Juan de Montra1388 King John I of Aragon Philip the Bold of Burgandy1388 King John I of Aragon Viscount de Roda1394 King John 1 of Aragon1415 Prince Alphonso of Barcelona

As can be seen from the above, Prince, and later King, John seems to have been rather fond of the Chekker. The text of the first three letters from John are similar in tone, as he searches for a Chekker to purchase. By the time he writes to Philip the Bold, John is not only looking for a Chekker, but also wants the minstrel Johan del orguens to be sent, along with a Chekker and portative organ. Johan de orgeuns is also instructed to bring his book with estampidas in it.8 Whether Philip actually sent these down to John is unknown. However, by the last letter when John is requesting another minstrel, he states that said minstrel need not bring any instrument but his portative organ, as John now has enough of other instruments. John includes the Chekker on his list of instruments he already possesses.9 By the time of Prince Alphonso, Chekkers were being made in Spain10, likely due to the diligent search of King John.

The final mention of the Chekker is in 1552 by Francois Rabelais in “Le Quart Livre de Faicts et dicts heroiques du bon Pantagruel.” (The Fourth Book of heroic deeds and sayings of the good Pantagruel.) In chapter 31, Franscois has a charming list of body parts in which he likens them to various musical instruments. Though his reference to the Chekker as the armpit, is a rather ignoble last word on this important instrument.

7 Ripin, Edwin M. "Towards an Identification of the Chekker." Galpin Society Journal. 28. April (1975)

8 Ibid: 179 Ibid: 1710 Ibid: 18


The TheoriesWhat is the Chekker? On such an information poor topic, theories abound, ranging from the absurd to the well reasoned.

OrganistrumThe first string keyboard instrument was the Organistrum. The instrument sounded by means of a crank, turning a rosin coated wheel which rubbed and excited the strings. In effect it was an infinite length violin bow. The strings themselves were fretted by pulled tangents that stopped the string length, allowing eight fundamental notes and a B flat to be played on the instrument. Though it can be expanded to a full chromatic set with no difficulty11.

The theory by Ephraim Segerman, says that the Chekker is simply an expanded organistrum. He postulates it would have the wheel removed and more key-levers added. Next, the pull tangent keys were likely removed and replaced with lever keys, which could strike with good force, sounding the note12.

This has some plausibility.13 This ability of the organistrum is also noted by Canon Galpin, “sufficiently tightened, an air can be played upon it by the sharp impact of the tangents alone, without turning the wheel14.”

The main flaw in this argument is, even with a lever-operated tangent, a gut string will make very little sound. You need metal strings for this, to give sufficient volume to compensate for changing the instrument. If you did this, you would now have not the Chekker, but the well documented keyed monochord. Unfortunately there is no evidence of this existing before circa 1465, a century after the Chekker. The keyed monochord (plate 1) appears to be an invention of Conrad von Zabern, documented in his work “Novellus Musicae Artis Tractatus” where he gives instructions on the creation of this device.15

11 See my paper “A Plausible Reconstruction of the Organistrum.” Presented at An Tir A&S Tourney 2009 for more information. Available http://www.aleyn.com/

12 Segerman, Ephraim. The Development of Western European Singed Instruments. 1st ed. Manchester U.K.: lulu.com, 2006. 5913 As you may be aware I have constructed an organistrum and while quietly practising, drawing the keys sharply while no one turned the lever, I realized I could in fact hear the notes. It is not a great stretch that in the past others practising alone would have noticed the same thing and decided to make use of this. Tingle “Plausible reconstruction.”

14 Galpin, Francis W. Old English instruments of music : their history and character. 4th ed. London U.K.: Methuen, 1965. 114 15 Brauchli, Bernard, and Christopher Hogwood. The Clavichord (Cambridge Musical Texts and

Monographs). 1st ed. Cambridge U.K.: Cambridge University Press, 1998. 16

1: Monochord after Zabern

http://www.aleyn.com/


Al-shaquiraFirst appearing in 1926, this theory persisted until 1979. 16 H.G. Farmer put out a number of theories on musical instruments, all overturned in the past few decades. He held that the Arabian word al-shaquira he had found in a early 13th century document by Al-Shanquandi, was corrupted into Exchequer. “The instrument known as the eschaquil or exaquir was surely derived from the Arabian al-shaquira.17” Modern re-translation shows this statement in the original document to be described as belonging in the mazamir, or woodwind family.18

Upright HarpsichordOne of the most persistent ideas is that the Chekker was an upright harpsichord, similar to the Clavicytherium at the Royal College of Music. It should be noted the RCM Clavicytherium is the oldest surviving keyboard instrument, dating from the late 15th century. It is very tempting to think because of its age, the Chekker must have been a version of this instrument.

This argument is based on King John of Aragon's letters. In the first letter he asks directly for a player to bring a portative organ and Exchequer to John's court. The second says “Having heard that Devesa has an instrument seeming like organs which sounds with strings, we order you to buy it and send it to us at once19.”

Curt Sachs states firmly “these evidences corroborate the hypotheses that the exaquier or exchequier was a portative upright harpsichord. He further says that it is probable that ... the vertical portative form preceded the horizontal form”20.

Unfortunately these two letters from King John of Aragon are usually printed beside each other and can lead to the impression they refer to the same instrument; this is by no means certain. Where as in the

early letter he specifically names the Exchequer, the later letter shows John has no name for this instrument. This seems to show he is referring to different instruments.

Further Sachs' idea that the vertical portative form of a stringed keyboard preceded the horizontal is highly unlikely. There is another layer of complexity in key-lever construction, in the vertical variety. In

a horizontal keyboard you simply have a straight key, balanced on a fulcrum. In the harpsichord action for the horizontal version (plate 2) you then have a vertical upright, with a tenon cut from the top. In this balances a device for plucking the string, which is then returned to its original position by gravity.

16 Page, Christopher. "The Myth of the Chekker." Early Music Keyboard Issue 1. 7.4 (oct 1979): 482 – 489.

17 Farmer, H.G. "The origin of the Eschaquiel." Studies in Oriental Musical Instruments. 1. (1931): 19-23. quoted in Christopher Page's “The Myth of the Chekker.” :482

18 Page, Christopher. "The Myth of the Chekker." Early Music Keyboard Issue 1. 7.4 (oct 1979): 48219 Ibid: 48320 Sachs, Curt. The History of Musical Instruments. 1940. Dover Press - W.W. Norton & Co., unabridged 2006. 336 - 337

2: Horizontal Harpsichord Jack


Once you move to the vertical harpsichord (plate 3) you now not only need the lower horizontal balanced lever, but you need an vertical extension of the key up to the level at which you wish to pluck the string, and then it must turn back on itself towards the string to present a plucking device that has to be returned by the spring action of a boar's hair. This is a much more complex system. It is far more likely a simple sounding system would have been invented before such a complex one.

ClavichordA more recent theory states, the Chekker is just a clavichord. The first evidence for this is in the account records of the French court which recorded the purchase of an eschiquier ou manichordion21. Edwin Ripin is the originator of this theory in 1975. He claims the words eschiquier and manichordion were placed together so there could be no confusion as to what the instrument was, and further that both are synonyms. “It seems inescapable that the phrase 'or clavichord' (ou manichordion) was provided in order to eliminate all possible ambiguity in the record and that it was not included to suggest that the clavichord was an alternative instrument for the Chekker”22. Ripin's conclusion is that the words are synonyms, not a request to send either an

Exchequer or Monochord. Ripin does not defend his interpretation of manichordian, as the word most commonly means monochord.23 Further, circa 1440 Henri Arnault de Zwolle mentions a manichordian which is equipped with a quill, a plucking device equipped in what we today think of as a harpsichord.24

21 Remnant, Mary. Musical Instruments of the West. 1st ed. New York: St. Martin's Press, 1978. 76 22 Ripin, Edwin M. "Towards an Identification of the Chekker." Galpin Society Journal. 28.april (1975): 1223 "monochord." Encyclopædia Britannica. Encyclopædia Britannica Online. Encyclopædia

Britannica, 2011. Web. 28 Sep. 2011 24 Page, Christopher. "The Myth of the Chekker." Early Music Keyboard Issue 1. 7.4 (oct 1979):485 quoting Arnault's Treatise at Paris.

3: Vertical Harpsichord Jack

4: Arnault Clavichord, Biblioteque Nationale, MS lat. 7295, fol. 129. from Ripin


Dolce MelosThe Dolce Melos first appears in Arnault circa 144025. The device was identified by Canon Galpin and confirmed by Jeremy Montague26. Arnault describes two types of Dolce Melos, a third being a string drum which does not count in this context. The first is a square device with individual strings per note, also there is a single bridge setting the string length. The second is a rectangular instrument which has 4 bridges, set at the harmonic nodes of the strings27. This allows many more notes to be sounded in a smaller area. This is a bridging system similar to that of the hammer dulcimer.

In common, they have an unusual sounding system. “The key has a piece weighted with a piece of lead glued to the top of it”28. The action works thus: if a key is depressed, the opposite end of the lever rises, pushing up the metal topped key. The lever however, stops a tiny distance short of the height needed for the key top to strike the string. The key-top is not attached to the lever, but sits loosely atop, in a slide slot. This allows this key to continue upwards the tiny distance, and then fall back after sharply striking

the string and sounding the note. This is essentially a keyed hammer dulcimer and it gives us, though in simple form, the basics of the modern piano29.

Shape TheoryIn “Myth of the Chekker” Christopher Page makes an interesting case30. Toward the end of his article, he turns to Arnault's treatise to dissect it. He discovers Arnault identifies instruments in a different manner than we would do today. To us a harpsichord has a plucking action, a clavichord has a fretting action and a piano a striking action. Arnault however assigns these types of actions to various instruments. One of the instruments which has been identified as a clavichord, is noted to have all three possible actions as its sounding method31. Thus it is quite possible this was a period practise, in which the sounding mechanism was not as important as another factor.

Page showed Arnault identifying the clavicymbalum (harpsichord type) with a triangular or wing shape and the clavichord with a rectangular shape. With this in mind, Page

suggests that given the strong association of the Exchequer with its name-alike, the very important to

25 Clutton, Cecil. "Arnault's Manuscript." Galpin Society Journal. 5. (March 1952): 6 26 Montague, Jeremy P.S. The world of Medieval and Renaissance Musical Instruments. 1st ed. New

York: Overlook Press, 1976. 59. 27 Clutton, Cecil. "Arnault's Manuscript." Galpin Society Journal. 5.March (1952): 5, 6. 28 Ibid29 Clutton, Cecil. "Arnault's Manuscript." Galpin Society Journal. 5.March (1952): 6. 30 Page, Christopher. "The Myth of the Chekker." Early Music Keyboard Issue 1. 7.4 (oct 1979): 482 – 489.31 Ibid 487

5: Boethius', New Math vs the Exchequor Table - 1503 by gregor reisch


the medieval mind, chess board. It is likely to Arnault and perhaps others in period, the word Chekker simply meant square32.

Many others however, discount this and endorse the idea it was rectangular and therefore likely a clavichord. Caldwell & Ripin33 reiterate Ripin's 1975 theory,34 in which the Chekker was based not on the Exchequer chess board, but “the name Chekker was derived from 'Exchequer' the medieval counting board”35 (plate 5) which was rectangular. Also “since the exchequer would have been used for the mathematical computations of music theorists, it would have been well known in musical circles.”36

The chess board however, is directly associated with the Chekker in Jean de Gearson's (d 1429) work Canon pro scacordo mystico (A rule for interpreting the mystical chessboard.) 37 which includes crude keys off the bottom of the three included illustrations. (plate 6) In an accompanying verse, Gerson informs us a Chekker has been superimposed on his chessboard.38 Further, he says “when we play the keys of the Chekker with the fingers of meditation, the voices of the affections resonate in harmony”39. That Gerson goes to the trouble of telling us the Chekker has been superimposed on the chessboard, however skeletal the form, must indicate the instrument was square.

32Page, Christopher. "The Myth of the Chekker." Early Music Keyboard Issue 1. 7.4 (oct 1979)33 Ripin, Edwin M, and John Caldwell. Early keyboard instruments. 1st ed. London U.K.: W. W.

Norton & Company, 1989. 34 Ripin, Edwin M. "Towards an Identification of the Chekker." Galpin Society Journal. 28.april (1975): pg 11 – 2535 Ripin & Caldwell, “early Keyboard”: 17436 Ibid: 17537 Page, Christopher. "The Myth of the Chekker." Early Music Keyboard Issue 1. 7.4 (October 1979):

485, 486. Ripin, Edwin M. "Towards an Identification of the Chekker." Galpin Society Journal. 28. April (1975): 14, plates 3, 4.

38 Hobbins, Daniel. Authorship And Publicity Before Print, Jean Gerson And The Transformation Of Late Medieval Learning. Univ of Pennsylvania Pr, 2009. 84. 39 Ibid

6:Exchequer Chessboard, Paris, Bibliotheque Nationale, MS.lat. 17487, fol. 228v. From Ripin


Evidence for a Plausible ReconstructionSolid evidence of the construction of the Chekker is scant and contradictory. Unfortunately this requires some conjecture and historical cherry picking, if a plausible reconstruction is to be done. To stay on a reasonably firm footing, this section begins by breaking down the requirements for reconstruction of a string keyboard instrument.

At the coarsest level a keyboard string can be broken down into the following four constituents:

• Case◦ What basic shape?

• Action◦ How are the strings excited?

• Strings◦ What are the strings made of?

• Range◦ How many notes is the instrument capable of?

Case:

Earlier in this paper three shapes for the box are discussed; rectangular, triangular and square. Each shape leads us to a different likely conclusion as to the nature of the instrument.

Rectangular Case:

Many scholars of organology have concluded the Chekker must have been rectangular in shape. A case of this shape would lead to it being either a Clavichord or a Monochord, as either will have its strings running along the length of the keyboard. Ephraim Segerman believed it to be an outgrowth of the organistrum, but with lever tangent keys40, this idea is supported by Canon Galpin. However, such an arrangement would make it a keyed monochord. This is a type of instrument that has no mention before 1465, appearing in Conrad von Zabern's “Novellus Musicae Artis Tractatus”41

It is generally agreed the clavichord grew out of the keyed monochord by the addition of more strings, to overcome the limitations of only having a single note able to sound at a time. 42 The issue here being

40 Segerman, Ephraim. The Development of Western European Singed Instruments. 1st ed. Manchester U.K.: lulu.com, 2006. 5941 Brauchli, Bernard, and Christopher Hogwood. The Clavichord (Cambridge Musical Texts and

Monographs). 1st ed. Cambridge U.K.: Cambridge University Press, 1998. 16 42 Montagu, Jeremy P. S. The world of Medieval and Renaissance Musical Instruments. Overlook press, New York. 1976. Pg 58-59 and monochord.:56. Sachs, Curt. The History of Musical Instruments unabridged. 1940. Dover Press - W.W. Norton & Co., unabridged 2006.: 331. Galpin, Francis W. Old English instruments of music : their history and character. 4th ed. London U.K.: Methuen, 1965. 114


that the Clavichord is described and sketched by Arnault of Zwolle in 144043. However he gives no mention of the Monochord, leaving us with the theory which indicates the monochord may have in fact been an invention of Zabern. Essentially it is a simple stripped down Clavichord, for basic instruction.

A rectangular case would allow the use of few strings of a single length and diameter, in keeping with the idea of the early monochordal instrument. Do note, monochord does not mean it only has one string, but that the strings are the same length and same diameter, playing the same fundamental note. Such an instrument is most likely to be fretted, but could be bridged at harmonic nodes to increase the number of notes available to an unfretted instrument.

Triangular Case

The idea of the triangular case being assigned to the Chekker, seems to have been first postulated by Hortense Panum in the early part of the 20th century.44 A major proponent of this idea, much quoted, is Curt Sachs. The idea was so pervasive, that by 20 years later it was accepted as gospel by such as Edmund Bowles45, with no thought of there being any other possibility.

The idea the case of the Chekker was triangular, comes from the error in confusing two letters by King John of Aragon, mentioned earlier. The first letter requests a musician who plays Portative Organ and Chekker to be sent to John along with the music book. The next requests an instrument King John has heard of. One which possesses strings, but sounds like an organ, be sent to him46. Thus the two letters become confused and the conclusion drawn by many, erroneously, is that the Chekker is an upright harpsichord, an instrument which has has a right-angled triangle case.

A triangular case, whether vertical or horizontal, means the strings are of unequal length and thus not a monochord.

Square Case:

The idea the Chekker had a square case comes primarily from Christopher Page in 197947. Even Curt Sachs agrees that Chekker, eschequier and exaquier all mean chessboard48. Jean de Gearson's (d. 1429)

43 Clutton, Cecil. "Arnault's Manuscript." Galpin Society Journal. 5.March (1952)44 Panum, Hortense. The Stringed Instruments of the Middle Ages – Their Evolution and Development. Translated from Danish by Jeffry Pulver. William Reeves Bookseller Limited, London. 1939. Pg 49245 Bowles, Edmund A. On the Origin of the Keyboard Mechanism in the Late Middle Ages. Technology and Culture, Volume 7 number 2, spring 1966. pg 15346 Page, Christopher. "The Myth of the Chekker." Early Music Keyboard Issue 1. 7.4 (oct 1979): 48347 Ibid 482 - 48948 Sachs, Curt. The History of Musical Instruments unabridged. 1940. Dover Press - W.W. Norton & Co., unabridged 2006: 336


work Canon pro scacordo mystico “A rule for interpreting the mystical chessboard.” 49 shows a number of chessboards with key-levers on the bottom. In an accompanying verse, Gerson states the game of chess is a figure of spiritual warfare and that a Chekker has been superimposed on his chessboard.50 Further he says “when we play the keys of the Chekker with the fingers of meditation, the voices of the affections resonate in harmony”51 It may seem odd such information can be overlooked or discounted, but until the end of the 20th century it was. It is a fair conclusion that if Chekker and its variations all translated as chessboard52, and a period source states the Chekker is superimposed on his chessboard53 as an aid to his philosophy, albeit in a skeletal form, then perhaps a Chekker is square.

Action

The possible action types that could be applied to the Chekker are:• Hammering• Plucking – horizontal• Plucking – vertical• Tangent

HammeringThe intriguing hammering action first appears in the works of Arnault of Zwolle circa 144054. With its relation to the modern piano and its exotic nature at the time, only appearing in Arnault's Dulce Melos, it might be very tempting to say this is the action of the Chekker. Unfortunately it appears long after the majority of references to the Chekker, so must be ruled out.

Plucking – HorizontalThis type of action, used in what today we call a harpsichord, is of very ancient date. However its first appearance is in 1440 in Arnault of Zwolle's treatise55. Once again, after the first mentions of the Chekker.

49 Page. “Myth” 485, 486. Ripin. “Towards Identification” 14, plates 3, 4.50Hobbins, Daniel. Authorship And Publicity Before Print, Jean Gerson And The Transformation Of Late Medieval Learning. Univ of Pennsylvania Pr, 2009. 84. 51 Ibid52Sachs, Curt. The History of Musical Instruments unabridged. 1940. Dover Press - W.W. Norton & Co., unabridged 2006: 33653Page, Christopher. "The Myth of the Chekker." Early Music Keyboard Issue 1. 7.4 (oct 1979): 48754 Clutton, Cecil. "Arnault's Manuscript." Galpin Society Journal. 5. (March 1952): 6 55 Ibid: 4


Plucking – VerticalThe vertical plucking action is used in what today we call the Clavicytherium, an example of which survives in the Royal College of Music Museum (RCM-1) in London as the oldest surviving string keyboard instrument. The earliest mention of a Clavicytherium seems to come from 1460 by Paulus Paulirianus56, in which he describes an instrument which seems to be a combination of an upright harpsichord and an organ. This was likely an early Claviorgan, a functional bastardization of the two types. But it does give us a clue the vertical harpsichord existed before 1460. Arnault on the other hand, makes no mention of such an instrument. It can thus be inferred the Clavicytherium was created between 1440 and 1460, dates far too late for the Chekker. Also the complexity of the vertical plucking key system makes it extremely unlikely this would be the earliest lever keyboard action.

TangentThe tangent dates back to the organistrum57 with its simple set of pulled sliders, each equipped with a hard vertical tangent to fret the strings58. The system was slow and only one note could be sounded at a time, limiting the instrument's use. As noted earlier in this document, it is possible to pull the keys sharply into contact with the string and thus sound the note, or more accurately two notes, the fundamental and it's aliquot. It is a small leap of logic to damp the unwanted note, and thus sound only the single pure tone.

The next development in the tangent action is to move away from the thin sound made by sharply pulling the earlier tangent, and replace it with a lever action, adding a hard tangent to strike the string at the fret. It is possible this was done in experiment, but there is no evidence at this time of an organistrum equipped with such an action. However, the later Clavichord is equipped with exactly this type of action. It is extremely simple in concept and quite robust in usage.

StringsString type is one of the most important considerations, as it sets the tone and volume of the entire instrument. Without good strings, the instrument is nothing. Types of strings in use historically include: horsehair, gut, fibers such as linen and silk, copper alloys and iron.

Horsehair is only useful for an instrument in which the string is excited by a bow or wheel. From personal experience having installed horsehair on lyres and harps, it has only the dullest of tones when plucked, though it sings when bowed. At this time I have found no evidence of the use of horsehair strings on period instruments, this is not to say this was not done, just that I have not found a reference.

56 Bavington, Peter. "An Early Clavicytherium Reconstructed." English Harpsichord Magazine. 3.5 (1984): 1. Web. 29 Sep. 2011. <www.harpsichord.org.uk>.

57 Segerman, Ephraim. The Development of Western European Singed Instruments. 1st ed. Manchester U.K.: lulu.com, 2006. 5958 Tingle, Stuart. A Plausible Reconstruction of the Organistrum. Presented at An Tir A&S Tourney

2009. I extensively cover the reasoning behind the use of pull tangents and debunk the apocryphal Gerbert image showing rotating paddle frets.


Currently it is quite common in folk instruments from Eastern Europe, and has been adopted on a number of western instruments to make them “more period,” with little-to-no evidence.

Fiber strings are a different story, with reference being available. Sachs states “the earliest strings were probably made of hemp”59. Though further in the paragraph he states the Greek word for hemp is linon, (English linen)60. This is an odd confusion as linen comes from flax, not hemp. It is possible a shift in terminology took place during the word's adoption to other languages, but this topic is out of the scope of this paper. It can be imagined the sound of a linen or hemp string would not be much different than that of the horsehair.

Gut, the dried product of sheep intestine, has been in use for an extremely long time. Sachs, speaking of a Hebrew lyre in antiquity says “the strings, minnim, singular men, were made of sheep gut”.61 This medium is excellent whether plucked, strummed or bowed. Experience with the organistrum has shown it strikes poorly, making only a thin sound.

Metal strings can be made of most metals, the primary requirement being that they are drawn, rather than beaten and twisted, a process in use from antiquity. The drawing of metal into suitable strings is obscure, however, Segerman states “One event needed to make a loud string instrument was the development of mechanisms that could draw fine iron wire, not just that suitable for nails. This happened with Germans harnessing the power of water to draw wire in the15th century, the century that saw the rise of string keyboard instruments62.” He infers keyboard strings would be impossible, or at least impractical, without iron strings. While it is true iron strings ring very loudly, it does not follow that they must be iron. It is more likely, accurate drawing of copper alloys preceded the drawing of more difficult iron. This would have been available at reasonable cost for the new instruments, perhaps spurring the development of these keyboards as Segerman states, rather than just the iron he insists upon.

RangeThere are few indicators as to what the range of an instrument of this period might be. Some iconographic evidence, primarily from statuary, shows a range of possible numbers of keys. Some are fully chromatic, such as the carving circa 1475 by Adriaen van Wesel - Adoration of the Magi or the instruments in Minden Cathedral (plate 7), showing a harpsichord and a clavichord, circa 1425. The Clavichord shows 12 or 13 keys and the harpsichord (judging from the size of the three keys shown on

59 Sachs, Curt. The History of Musical Instruments unabridged. 1940. Dover Press - W.W. Norton & Co., unabridged 2006: 13060 Ibid61 Ibid: 10762 Segerman, Ephraim. The Development of Western European Singed Instruments. 1st ed. Manchester U.K.: lulu.com, 2006.: 59

7: Harpsichord & Clavichord, Minden Cathedral


the upper left) shows at least 16, perhaps more.

Another approach is to look at music of the period, and evidence for its usage with this class of instrument; in this case, the two handed keyboard. Later contemporaries of the Chekker show use of two hands in play, unlike the portative organ which required one hand for the bellows. Another fragment of possible information comes to us from two sources. When King John of Aragon asks for a performer to be sent to him along with the musician's portative organ and Chekker; John further requests the musician's music book of of motets and estampidas be sent with him.63 A book of this period with this type of music in it has actually survived, the Robertsbridge fragment circa 1320. “The Robertsbridge codex, dating from 1320, requires a compass of two octaves and a third, from C to E2”64. That is 27 chromatic notes.

If we look at these two pieces of evidence together, we gain some interesting information. King John of Aragon request a musician, a portative organ, a Chekker and a music book. This book, similar to the Robertsbridge Codex, would have required the use of two hands and be possessed of the range as noted in the above paragraph. The portative organ requires one hand to operate the bellows, leaving only one hand for the keyboard, so we can likely eliminate this instrument as being capable of playing music from that book. This clue leaves us with the Chekker being capable of playing the music in this book. It is a leap of logic, but it does follow.

Thus:

Range: C to E2, chromaticNumber of keys: 27

63 Ripin, Edwin M. "Towards an Identification of the Chekker." Galpin Society Journal. 28.april (1975): 1764 Brauchli, Bernard. The Clavichord (Cambridge Musical Texts and Monographs). 1st ed. Cambridge

U.K.: Cambridge University Press, 1998. 20


The Design to be Built

Now with the background established, it is time to pull all the data together to design a conjecturally possible l'eschaquir d'Engleterre. Should there have been even a single image provable as a Chekker or the texts been more explicit, this would be a much simpler project. As such, the data has to be sifted for what facts we can; then filling in must be done in the form of reasoned deduction on the part of the author, based on years of reconstruction of historical musical instruments in the past. Yes, an educated guess. Much will also be done through following the principle that complex systems evolve with time, they do not spring forth fully formed but must start off in simpler forms. Mundanely known as the K.I.S.S. principle.

CaseThe possibilities for case construction are rectangular, square and triangular. The evidence above seems to lead away from the rectangular and triangular as the information we have looked at indicates which they are most likely later forms of keyboard instrument. Further, the close association with the Exchequer and the chessboard in period, (as opposed to the body of out of period work on the subject), would be suggestive of a square shape. The instrument was likely provided with protruding keys, as is shown on many early keyboards, such as the sculpture to the right. This is a portion of an altar piece by Adriaen van Wesel, likely a clavichord. NM 1 1967 (1475 – 1477) in the Rijksmuseum of Amsterdam. (plate 8)

This sculpture also shows some other interesting features, a hinged case lid with what appear to be four hinges. The lid has been pierced with two simple holes. It is uncertain without experimentation if this would act to damp the sound, or as a resonance chamber once closed. To the left there is a line across the instrument, under the strings and not connected to the block beside. This can be interpreted as a simple bridge, transmitting sound to a soundboard below. Furthering this theory are indications under magnification, of a simple rose on the right side of what must be the soundboard. However, it can not have much resonance space below. Closing the lid might increase both resonance and volume of this otherwise likely thin sounding instrument. Further information to be covered in other sections, can be gleaned from this exceptionally clear sculpture.

As for material considerations for construction, we have no real indicators in the record as to what an early keyboard instrument was made from. RCM-1 can perhaps be used as an example. It is some two centuries past the first evidence for the Chekker, but the upright harpsichord is mentioned within the period the Chekker was still in use, as evidenced by Paulus Paulirianus65 circa 1460.

65 Bavington, Peter. "An Early Clavicytherium Reconstructed." English Harpsichord Magazine. 3.5 (1984): 1. Web. 29 Sep. 2011. <www.harpsichord.org.uk>.

8: Adoration of the Magi by Adriaen van Wesel – Rijksmuseum NM 1 1967


RCM -1 major constituents, as per information provided by the Royal College of Music66.

These are:• Back board. Coniferous, unknown.• Spine/sides. Poplar.• Soundboard. Spruce.

This would yield an outer case of hardwood. Poplar is open to regional debate as to what it is, however, the back of a Clavicytherium is removable and kept light to facilitate this. It is not a structural member of the case. Given the prevalence of cypress (yellow cedar) in the construction of keyboard strings, it is a likely candidate. It could, however, be any clear-grained coniferous wood.

ActionThe action generally only includes the key system itself, but the supporting structures of wrest plank, pin block, key slips and guide rail will be discussed here as well.

Having looked at the possible action types and evidence of their relative ages, it is much more likely the system used in the Chekker was a lever tangent. It is the simplest type of action and previous evidence indicates that it is the most ancient of the actions presented.

Returning again to the image of the clavichord by Wesel on the previous page, a fully developed pin block and wrest block can be observed. These blocks on either end of the instrument are used to bear the tuning and end pins for string support. The wrest plank and pin blocks of the instrument must be constructed of a very strong material, which can withstand the tension of the strings on the pins trying to lever it apart. Only hardwoods fit the bill for this application. RMC-1 uses a walnut plank. It has to be noted that the Royal College of Music believe this wrest plank to be a replacement. This idea is based on evidence of the wrest plank having been a badly installed replacement67. Any close grained hardwood would be acceptable for use as wrest plank and pin block.

Continuing with the Wesel carving, looking at the back on the inside of the case a bar can be observed, running from left to right. The back end of the key-levers butt up to this. This is an indication of a guide rail in which the key ends are anchored in slots that guide and stabilize the levers. The guide rail on the RMC-1 instrument is of a completely different class of instrument action and no use in this instance. It is most likely, however, you would want a wood which can withstand the constant rub of the key end, whether the key ends are of wood or metal slips. A hard maple would do well in this application.

The key-levers themselves are likely related to clavichord levers, as they run from the keyboard to guide levers on the opposite end of the instrument. In such a system, the tangents are most likely to be aligned in exactly the same position on each key, but either a bent bridge or individual bridges used to compensate for string length. This creates a very simple system, where every key-lever is constructed

66 Debenham, William. Technical drawing and specifications of RMC-1. Royal College of Music. London.

67 Ibid


identically. The tangents and key ends for the guide rail are most likely of brass, with the levers themselves of maple68, all cut from one plank, as per the practise in clavichord construction.

Width of the keys is an unknown and if the iconography is examined, varies wildly from image to image. The best indicator perhaps is to once again refer to RMC-1 and its key width of 25.2mm. This is wider than modern practise, but it is perhaps best to err on the side of a documentable period practise than just use the slightly narrower modern width just for convenience.

Another very important part of the action system is the balance rail. This is the fulcrum on which the key-levers rest. In clavichord and harpsichord practise, as well as on RMC-1, the narrow balance rail has small pieces of metal or wood which fit into a narrow triangular opening on the bottom of each key at the fulcrum point. This allows each key to pivot accurately, and not easily come loose. A wooden rail with brass pins is a common usage.

The last piece of the action system are any key slips. These are pieces overlaid on the key ends protruding from the instrument. Traditionally the keys are marked in white, for the fundamental notes and black for the accidentals. With more complex action and differing lengths of levers causing changes in mass, the keys are rebalanced individually, so each key requires the same pressure to operate, this is often referred to as touch. Key slips cover and thus hide the lead weights placed within each key to re-balance them. Prior to the ban on ivory, it was common for the white keys to be covered with slips of Ivory. The accidentals would have blocks of ebony glued upon them, giving them the name, the black keys. Modern practise uses plastics and dyed wood. RMC-1 uses bone slips and “hardwood” accidental covers. No covers are required on this instrument, as due to identical construction all keys will have the same mass, and thus the same touch. The accidentals do need to be built up for use, however, so a contrasting colour of wood could be used, both for aesthetics and for a suggestion of the chessboard.

StringsAs discussed, gut, hair and fibre strings would all be far too quiet, even for what is likely to be an intimate-setting instrument such as the Chekker. This leaves us with the choice of red brass, yellow brass or iron strings. Iron strings are unavailable today, and reproduction of them might make a possible research project for a researcher interested in metalworking. Modern steel music wire could possibly be substituted. It is comparatively cheap and available, however it may not have quite the period sound. Red brass and yellow brass are available from luthier supplies. They can also be purchased in various gauges at many hardware stores. Experimentation will be required to see if it is a suitable wire for a period instrument, or can be made suitable by annealing.

As this is likely to be a quiet instrument, double stringing is likely to be a good idea. If this is done, the case and wrest plank, along with the pin block, must be made stronger to handle the doubled tension placed upon them.

68 Debenham, William. Technical drawing and specifications of RMC-1. Royal College of Music. London.


RangeThe range of the instrument is unknown as is its true repertoire. The reasoning used in the companion section previou,s is all which can be used to arrive at something other than just a stab in the dark guess. So, using the Robertsbridge codex, a range of 27 chromatic notes is found from c to E2. This should be used as a guide for construction of the instrument.


ConclusionThe research above indicates a plausible reconstruction of a Chekker can be arrived at, using the remaining period documentation. This information will be complimented by related iconography from periods both, contemporary to the Chekker and shortly there after. Finally when combined with music of the period a reasonable conclusion can be reached.

From this data we can conclude that the Chekker would be square of shape with protruding keys. The instrument's action would be of the tangent type. All keys are of identical construction, striking at the same point to give equal touch to them. This positioning of the strike point can be compensated for by individual bridges or a bent bridge as per RCM-1. It should be double strung in brass strings of identical length. Modern steel could be used, with modification, if needs be. It should be equipped with a lid, likely pierced so the instrument can be played while protected.

Only when these criteria have been met shall we have a good idea of the true sound and capabilities of the lost l'eschaquir d'Engleterre.


Bibliography• Bavington, Peter. "An Early Clavicytherium Reconstructed." English Harpsichord Magazine.

3.5 (1984): 1. Web. 29 Sep. 2011. <www.harpsichord.org.uk>.

• Bowles, Edmund A. On the Origin of the Keyboard Mechanism in the Late Middle Ages. Technology and Culture, Volume 7 number 2, spring 1966.

• Brauchli, Bernard, and Christopher Hogwood. The Clavichord (Cambridge Musical Texts and Monographs). 1st ed. Cambridge U.K.: Cambridge University Press, 1998

• Clutton, Cecil. "Arnault's Manuscript." Galpin Society Journal. 5. (March 1952)

• Debenham, William. Technical drawing and specifications of RMC-1. Royal College of Music. London.Encyclopædia Britannica. Encyclopædia Britannica Online. Encyclopædia Britannica, 2011. Web. 28 Sep. 2011. John II. Monochord.

• Galpin, Francis W. Old English instruments of music : their history and character. 4th ed. London U.K.: Methuen, 1965.

• Hobbins, Daniel. Authorship And Publicity Before Print, Jean Gerson And The Transformation Of Late Medieval Learning. Univ of Pennsylvania Pr, 2009.

• Meeus, Nicolas. "The Chekker." The Organ Yearbook. Xvi. (1985)

• Montague, Jeremy P.S. The world of Medieval and Renaissance Musical Instruments. 1st ed. New York: Overlook Press, 1976.

• Panum, Hortense. The Stringed Instruments of the Middle Ages – Their Evolution and Development. Translated from Danish by Jeffry Pulver. William Reeves Bookseller Limited, London. 1939.

• Page, Christopher. "The Myth of the Chekker." Early Music Keyboard Issue 1. 7.4 (oct 1979)

• Remnant, Mary. Musical Instruments of the West. 1st ed. New York: St. Martin's Press, 1978.

• Ripin, Edwin M, and John Caldwell. Early keyboard instruments. 1st ed. London U.K.: W. W. Norton & Company, 1989.

• Ripin, Edwin M. "Towards an Identification of the Chekker." Galpin Society Journal. 28.april (1975)

http://www.harpsichord.org.uk/


• Sachs, Curt. The History of Musical Instruments. 1940. Dover Press - W.W. Norton & Co., unabridged 2006.

• Segerman, Ephraim. The Development of Western European Singed Instruments. 1st ed. Manchester U.K.: lulu.com, 2006

• Tingle, Stuart. A Plausible Reconstruction of the Organistrum. 2009. <http://www.aleyn.com/ >

http://www.aleyn.com/

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