By Ann Bond
This useful consultant treats the mechanics and evolution of the device and provides a survey of its literature. the writer discusses contact and approach, together with articulation and fingering, and the problems focused on old functionality practices. She additionally presents feedback on picking and retaining a harpsichord.
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Additional resources for A Guide to the Harpsichord
This has an important practical consequence: the back portion of the key (behind the pivot) has to increase in length as one ascends the keyboard, in order to reach the shorter strings at the back of the instrument. This, in turn, means that the touch of the instrument cannot be uniform through its compass: as the pivot points are all the same distance from the front of the key, the principles of leverage cause the touch to be deepest in the bass. Bass notes can also be slower to speak. This disadvantage might have been one reason for the development of a new initiativeto put the strings at an angle of about thirty degrees to the keyboard.
Oxford University Press, for figures 8 and 12. The Victoria and Albert Museum, London, for figures 9 and 10. Performers' Facsimiles, New York, for figure 11. The Library of the Conservatoire Royal de Musique, Brussels, for figure 12. The National Portrait Gallery, London, for figure 13. Gerrit Klop, for figure 14. ANN BOND SILVERDALE The following reference system to pitch (Great C staff) is used in this book: Page 9 1 Setting the Scene That lovely instrument. Pier Francesco Tosi, Observations on the Florid Song (1723) I have always found the harpsichord irresistible, and I hope that before the end of this book you will catch some of my enthusiasm.
Includes bibliographical references and index. 4´19dc20 96-41086 CIP MN Page 5 Contents Acknowledgments 7 1 Setting the Scene 9 2 The Mechanics of the Harpsichord 18 3 Harpsichord Building in the Past 32 4 The Eclipse and Rebirth of the Instrument 44 5 Starting to Play the Harpsichord 51 6 Articulation in Harpsichord Music 58 7 A Musical Interlude 71 8 Techniques for the More Experienced Player 84 9 Fingering 91 10 Issues of Historical Performance Practice 104 11 Discovering the Repertory: How to Choose and Buy Music 119 12 The English Style 124 13 The Italian Style 135 14 The French Style 144 15 French Baroque Style in Performance 160 16 The German Style 169 17 The Spanish Style 179 18 A Commonsense View of Ornamentation 186 19 First Steps in Continuo Playing 206 20 Simple Facts about Pitch, Tuning, and Temperament 222 21 Care, Maintenance, and Tuning of the Harpsichord 230 Appendix A: Twentieth-Century Harpsichord Music 245 Appendix B: Useful Information 247 Bibliography 254 Index 258 Page 7 Acknowledgments My thanks are due to a number of people.
A Guide to the Harpsichord by Ann Bond