A Performer's Guide to Seventeenth-century Music: Edited by Stewart CarterStewart Carter This is a comprehensive reference guide for students and professional musicians. The book contains useful material on vocal and choral music and style; instrumentation; performance practice; ornamentation, tuning, temperament; meter and tempo; basso continuo; dance; theatrical production; and much more. |
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Page 156
... playing as much dance music as possible . It is a technique that was inspired by - and is perfectly suited to - dance music , and when playing dance music one is inevitably drawn toward playing with the degree of physical freedom that ...
... playing as much dance music as possible . It is a technique that was inspired by - and is perfectly suited to - dance music , and when playing dance music one is inevitably drawn toward playing with the degree of physical freedom that ...
Page 166
... playing it all on one string with the third and fourth fingers . From this and other evidence concerning aspects of technique , it is obvious that seventeenth- century violinists valued sound over convenience . Solo Music : Improvised ...
... playing it all on one string with the third and fourth fingers . From this and other evidence concerning aspects of technique , it is obvious that seventeenth- century violinists valued sound over convenience . Solo Music : Improvised ...
Page 173
... playing loud and soft . Though the earliest sonatas included formal and stylistic elements from all other instrumental music , by the mid - sev- enteenth century composers began to distinguish between church sonatas ( sonate da chiesa ) ...
... playing loud and soft . Though the earliest sonatas included formal and stylistic elements from all other instrumental music , by the mid - sev- enteenth century composers began to distinguish between church sonatas ( sonate da chiesa ) ...
Contents
Bel canto Style | 30 |
ANNE HARRINGTON | 43 |
GARY TOWNE Vocal Ensembles | 54 |
Copyright | |
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Common terms and phrases
accompaniment appears articulation Baroque bass beat beginning called castrato changes choir cited common composers consort continuo cornett court dance described developed discussion divisions double drums early edition effect England English ensemble equal example expressive figures flute four France French German gives half hand harpsichord historical important indicate instruments Italian Italy keyboard known late later less lower lute means mentioned ments Mersenne musicians nature notation notes octave opera organ original ornamentation particularly performance period pieces pitch players playing position practice Praetorius produce proportion published range recorder refers Renaissance repertory require says seems seventeenth century signs singers singing solo sometimes sonatas soprano sound sources standard steps strings style suggests tactus technique tempo term theorbo third timpani tion tone trill trumpet tuning types usually viol violin vocal voice writing written