By Ann Bond
This sensible consultant treats the mechanics and evolution of the device and provides a survey of its literature. the writer discusses contact and strategy, together with articulation and fingering, and the problems fascinated by old functionality practices. She additionally presents feedback on choosing and holding a harpsichord.
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Additional resources for A Guide to the Harpsichord
See A Handbook of Historical Stringing Practice for Keyboard Instruments, compiled and edited by Malcolm Rose and David Law. Available from The Workshop, English Passage, Lewes BN7 2AP, United Kingdom. < previous page page_50 next page > < previous page page_51 next page > Page 51 5 Starting to Play the Harpsichord The next four chapters explore the principles of harpsichord playing and touch, showing how your hands should cooperate with the action of the instrument and how you can obtain various effects.
Eigh < previous page page_37 next page > < previous page page_38 next page > Page 38 teenth-century instruments looked and sounded much like seventeenth-century ones, although the compass tended to increasepossibly to five octaves (GG-g'"). Among later Italian builders, one might mention Grimaldi, whose instruments were unusual in that the grain of the wood ran across, rather than along, the soundboard. This was combined with an unorthodox internal construction to produce an unusually bright sound.
Literally, it means "breaking up into jointed lengths"we speak, for instance, of an articulated vehicle. By extension, it also means the art of expressing something clearly in speech by making all the parts of a sentence distinct and relating them to and balancing them with each other so that their meaning is obvious. An articulate person is one who can convey an argument clearly. , the transitions), in order to display the musical argument clearly. Articulation is part of the music, not an extraneous element: it should not draw much attention to itself, but make its effect through the shaping of the music.