The Interpretation of Early Music |
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Page 224
... realising his own parts ; and at least to the extent of being able to modify an editor's parts to his own taste , which makes a very good start . No realisation , after all , is sacrosanct : whoever made it , and however well , it is ...
... realising his own parts ; and at least to the extent of being able to modify an editor's parts to his own taste , which makes a very good start . No realisation , after all , is sacrosanct : whoever made it , and however well , it is ...
Page 251
... realisation of the accompaniment ( which is original , i.e. by Telemann ) shows a harmony which contravenes the figuring ; and this harmony does in fact take into account the presence of a harmonic ornament on the F sharp of the solo ...
... realisation of the accompaniment ( which is original , i.e. by Telemann ) shows a harmony which contravenes the figuring ; and this harmony does in fact take into account the presence of a harmonic ornament on the F sharp of the solo ...
Page 254
... realisation at leisure with all the existing parts accessible for comparison . ( b ) Unaccented passing notes have little influence on the harmony , but for that very reason they are all the more freely available for increasing the ...
... realisation at leisure with all the existing parts accessible for comparison . ( b ) Unaccented passing notes have little influence on the harmony , but for that very reason they are all the more freely available for increasing the ...
Contents
THE APPROACH TO EARLY MUSIC | 25 |
THE INTERPLAY OF STYLES | 36 |
Musical Effects | 42 |
Copyright | |
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Common terms and phrases
accented acciaccatura accidental accompaniment accompanist Adagio Allegro appoggiatura arpeggiation articulation Augsburg Bach's baroque music baroque period beat Berlin breve C. P. E. Bach cadence chromatic composer continuo Couperin crotchets discord dissonance dotted notes early baroque early music effect embellishments Essay example expression F. W. Marpurg figured bass fingers flat French gamba give half-trill hand harmony harpsichord hexachord instruments interpretation intervals Italian J. S. Bach Joachim Quantz keyboard leading-note length Leopold Mozart less London long appoggiaturas lute main note marked means measure melody modern mordent movement musica ficta normal notation octave ornament Paris passages passing notes performer piano piece pitch played Pralltriller Quantz quavers quick realisation renaissance rule Semibreve semiquavers semitone sharp short appoggiatura singing slow slurred solo sometimes sonatas sound speed standard string stroke style taken tempo Thomas Mace tone tremolo trill turn vibrato viol violin Violinschule voice written