Late in the eighteenth century the piano began its rise, partially because of the fact that of the differences in mechanics. Harpsichords manufacture sound with jacks that pluck strings. Pianos utilize hammers that strike strings. Pianos are more robust as well as powerful as well as have a greater range of musical possibilities. Rise of the instrumental genre led to greater innovations of the keyboard due to greater ranges of dynamics contrast.

Varying the touch in harpsichord playing does not alter the quality or volume of tone; to provide dynamic variety, octave couplers as well as various stops that modification the tone were introduced. Contrast in volume as well as in tone color is made easier by the addition of a second keyboard, or manual, found on German harpsichords from the late 16th century as well as on Italian ones from c.1665. The instrument provided the basic support of virtually all of the various combinations of instruments as chamber music as well as orchestral forms developed. In the 19th century, the harpsichord, which required frequent tuning as well as replacement of quills, was superseded in general utilize by the piano. Since the mid-20th century, however, the older instrument has had a revival in popularity. Hence, the harpsichord ‘gave the player no possible opportunity to exercise any artistry’.[1]

 Limitations on the Harpsichord
From the beginning of the sixteenth onwards the harpsichord performed important roles in both domestic as well as professional musical life. However, by early eighteenth century new musical needs were arising. The composers were making increased utilize of lyrical melodies demanding dynamic inflection, as well as also a public performances to a bigger audiences referred to as on behalf of instruments with greater volume. This is to accomplish the increase of timbre colour to the music. The harpsichord has the great volume required on behalf of public performance or in instrumental ensemble. Still, it was limited in its ability to interpret a melodic line by its lack of facility on behalf of gradual dynamic variations within the scale. What was sought was a keyboard instrument, producing substantial sound level while allowing players direct control of volume from one note to the next.      



[1] Alfred Dolge. Piano as well as their makers. New York: Dover Publications. 1972. Pg 38.