By Ann Bond

ISBN-10: 1574670271

ISBN-13: 9781574670271

This useful advisor treats the mechanics and evolution of the software and provides a survey of its literature. the writer discusses contact and procedure, together with articulation and fingering, and the problems desirous about old functionality practices. She additionally presents feedback on picking out and preserving a harpsichord.

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Additional info for A Guide to the Harpsichord

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The length of the keys from back to front can vary, but in most pre-1700 instruments (and their modern copies) it is short. In particular, you will probably notice the shortness of the part of Page 19 the keys in front of the raised sharps. Only in English and German instruments of the eighteenth century does the length of key remotely resemble that of a modern piano. The width of the keys may also be marginally less. When you come to play the instrument, several other differences will emerge. The most obvious is that you cannot readily vary the amount of tone by depressing the key gently or strongly, as you can on the piano, since the volume of tone obtainable is set when each individual harpsichord is voiced.

The Netherlands Flemish builders usually decorated their harpsichords around the key-well with beautiful printed papers patterned with sea horses or classical motifs. ) Patterned paper was used also around the inside of the case above the strings and on the borders of the lid. The soundboard was painted, mostly with stylized flowers and birds and patterned arabesques. Latin mottoes were painted on the ash-grain paper that covered the inside of both sections of the lid, and these were surrounded by more arabesques and red and black lines.

Chromatic thereafter) These mutations sound alarming, but you will soon adjust to them when playing music contemporary with the instrument (which is really the only music suited to this particular type of keyboard). You simply need to make a careful study of which sound comes from which key. Seventeenth-century music often contains tenths in the left hand, and these large intervals are easily reached with short-octave layouts. You may also come across instruments in which one or more of the lower black keys are divided into a front and back half.

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A Guide to the Harpsichord by Ann Bond


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