A Performer's Guide to Seventeenth-century Music: Edited by Stewart Carter |
From inside the book
Results 1-3 of 58
Page 108
reach the finger holes can best be accommodated by adopting a finger position
closer to that of the transverse flute (oblique to the instrument) than to that of the
recorder. This position will bring the inside of the left hand at the base of the first ...
reach the finger holes can best be accommodated by adopting a finger position
closer to that of the transverse flute (oblique to the instrument) than to that of the
recorder. This position will bring the inside of the left hand at the base of the first ...
Page 160
Violin Position and Left-Hand Mechanics When the violin is held in the low early-
seventeeth-century position, the left hand is required to hold the instrument as
well as to finger the notes. The palm of the left hand should lie against the neck, ...
Violin Position and Left-Hand Mechanics When the violin is held in the low early-
seventeeth-century position, the left hand is required to hold the instrument as
well as to finger the notes. The palm of the left hand should lie against the neck, ...
Page 161
The truth of the matter is that the only thing that is important for the left hand is that
the fingers be at the right place at the right time, and the advantages that the low-
held technique impart to the bow-arm for playing stylistically far outweigh any ...
The truth of the matter is that the only thing that is important for the left hand is that
the fingers be at the right place at the right time, and the advantages that the low-
held technique impart to the bow-arm for playing stylistically far outweigh any ...
What people are saying - Write a review
We haven't found any reviews in the usual places.
Other editions - View all
Common terms and phrases
accompaniment Arbeau archlute articulation Baroque Baroque music bass line basso basso continuo beat branle Caccini canzonas castrato chitarrone choir choral chords choreographies cited composers concerted continuo court curtal dance music discussion divisions double drums duple Early Music edition eighteenth England English ensemble example falsettists finger flute French galliard German Giovanni harpsichord Ibid important improvised indicate instru instruments Italian Italy Johann keyboard lute lyra viol meantone melodic mensural ments Mersenne Mersenne's meter Michael Praetorius modern Monteverdi motets musicians notation note values octave opera organ ornamentation passaggi pavan performance practice pieces pitch standard players playing polyphony Praetorius Praetorius's recorder Renaissance repertory sackbut seventeenth century shawms singing solo solo music sonatas songs soprano sound sources strings style suggests surviving tactus technique teenth century temperament tempo tenor theorbo timpani tion tone Tosi transposition treatises tremolo trill trombones trumpet tuning universelle vibrato viol viola violin violin band violinists vocal voice