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 165
... chord . With the harmonic limi- tations of most early - seventeenth - century consort music , usually A and E are the ... chords . A fourth finger can easily be used to avoid any problems caused by the tuning of the open strings , but by ...
... chord . With the harmonic limi- tations of most early - seventeenth - century consort music , usually A and E are the ... chords . A fourth finger can easily be used to avoid any problems caused by the tuning of the open strings , but by ...
Page 284
... chords at all . " Plucked instruments may strum the har- mony in the rhythm of the bass line to produce more direction in the line if desired . When the bass line moves by skip , each note may require its own chord , although in ...
... chords at all . " Plucked instruments may strum the har- mony in the rhythm of the bass line to produce more direction in the line if desired . When the bass line moves by skip , each note may require its own chord , although in ...
Page 285
... chords in the right hand of a keyboard part should be taken with as many common notes between them as possible ... chords . Heinrich Albert ( 1640 ) says that chords should begin with the second entrance ; Penna ( 1672 ) and Bartolomeo ...
... chords in the right hand of a keyboard part should be taken with as many common notes between them as possible ... chords . Heinrich Albert ( 1640 ) says that chords should begin with the second entrance ; Penna ( 1672 ) and Bartolomeo ...
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