The scope of this paper is to explore a range of solutions to this problem applied to a single major chord within a single register in a specific harpsichord, given this instrument’s inharmonicity coefficient (Fletcher’s ‘B’ factor). This means there is no longer one single value for an interval that agrees with the ‘natural’ interval concept. This theory is not exact in the case of the harpsichord, as its string stiffness creates inharmonicity - deviations in each harmonic’s pitch varying with its number squared. It relies on the assumption that harmonics frequencies are exact multiples of their fundamental. The theory of natural intervals is based on the coincidence of harmonics and a consistent system of heterodyne components resulting from two periodic tones. This paper examines different solutions found on a number of specific instruments and discusses their implications as far as the timbre of the top octave is concerned. Registers which are in the farthest position from the nut can become nearer from the bridge, making the sound more nasal for the last notes, as opposed to what would be expected. Sometimes, in order to gain some extra space, the maker resorts to a change in the string material (with divided bridges and/or nuts) or simply an increased scaling for this portion of the instrument. Another consequence of the limited available space is that, whatever solution is found for the higher notes, the maker has a restricted degree of freedom for choosing the plucking points in this region. Also, the process of ravalement might require some degree of contrivance to deal with problems that the original maker didn’t have to worry about. Particularly problematic are situations such as a range that extends to f''' or higher, the presence of 4' or 2' registers, a high number of jack rows or a short scale, such as found on brass strung instruments or those intended for a high pitch standard. For the higher notes of a plucked-string keyboard instrument this can be barely enough for the jacks and registers that need to fit within the limited space between nut and bridge. There is an absolute maximum length a string can have in order to produce a specific note without breaking.
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